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Find out more on the Nebraska Public Media redesign

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From Newscast Studio: NPM studio undergoes major revamp of rigging and lighting systems

Timelapse video of Nebraska Public Media’s redesign of Ron Hull Studio using a full complement of Brightline lighting fixtures.

From Newscast Studio, September 13, 2024: https://www.newscaststudio.com/2024/09/13/nebraska-public-medias-iconic-studio-undergoes-major-revamp-of-rigging-and-lighting-systems/

In the heart of the Midwest, nestled within the expansive landscape of Nebraska, lies a broadcast studio that has been a beacon of innovation and creativity since its inception. Built in 1968 and commissioned in 1970, the Ron Hull Studio is a colossal 100 feet by 60 feet space located on the University of Nebraska’s Lincoln campus. Its original rigging plan with 109 motorized lighting battens was an engineering marvel typically found only in major media hubs like Los Angeles and New York City. As one of the first states to produce educational programming, the shows that came from this studio were as pioneering as its physical infrastructure.

For decades, the Ron Hull Studio hosted a variety of productions that brought the state’s stories to life, including the iconic shows “Backyard Farmer,” and “Big Red Wrap Up.” “Backyard Farmer” has been on the air for 72 years and is the longest-running locally produced public television series in the United States. The broadcaster has a second smaller studio, 40’x 60’ with “green screen” capabilities.

Fast forward to today, and the historic Ron Hull Studio has undergone a complete transformation. Its original lighting system, designed for incandescent loads, had been through one revision, but it was clear that a more comprehensive overhaul was necessary to meet the demands of modern production. Nebraska Public Media’s Doug Carlson, former Director of Production Services, and Nancy Finken, Chief Content Officer, recognized that the studio needed a full overhaul. Carlson agreed to come back after retirement to help manage the project.

The decision to upgrade was based on several factors. The existing motors and rigging systems were outdated and no longer functioning optimally. The control panels required manual patching and were prone to electrical arcing and burnout. Additionally, the studio’s production values were falling behind the more vibrant look of current programming. With the knowledge that viewers have a plethora of entertainment options to choose from, the need to maintain a more visually compelling broadcast became a pressing concern.

The importance of rigging

One of the most significant aspects of the Ron Hull Studio upgrade was the complete revamp of the rigging system. The original setup, while groundbreaking in its time, was in dire need of an upgrade. The new design had to retain the flexibility that made the original studio so versatile while incorporating the latest in rigging technology. One of the country’s top lighting designers, Norman Russell, Principal Consultant and Lighting Group Leader for NV5, served as consultant designer for the project. Russell designed the rigging and lighting systems with design and engineering support by NV5 Senior Lighting Designer Steve Cooper. The original rigging system while a marvel in its time, didn’t fit their current and future needs,” explains Russell. “We created a design that preserved the studio’s incredible flexibility while anticipating the challenges of the next few decades.”

The first step in the process was to strip the studio back to its bones. All the lights were taken down, the pipes lowered, and the old motors and rigging systems removed. What remained was a blank canvas, ready to be outfitted with a cutting-edge rigging system that would serve the studio for the next 30 years.

Rows of package hoists, each about 12 to 14 feet wide, were installed along the studio’s 100-foot length, with three hoists per row, 20 rows. This setup provided ample support for lighting fixtures, scenic elements, and other production equipment, allowing for a wide range of configurations depending on the needs of the production. In total, 60 new hoists were installed, a significant reduction from the original 109, but with equivalent functionality and far greater safety.

Around the perimeter of the studio, a fixed pipe grid was installed, providing additional rigging points for scenic elements, backlights, and other equipment. This grid, located about 20 feet above the deck or soundstage was designed to be level with the top trim of the flying pipes when they were fully raised.

Lighting heaven: The power of LED technology

While the rigging system forms the bones of the studio, lighting design is crucial in creating the new look. The Ron Hull Studio’s lighting system upgrade marked a significant shift from the old dimmer-per-circuit system to a state-of-the-art network driver system with LED fixtures. “The move to LED was not just about following current trends—it was about efficiency, sustainability, and giving our production team the tools they need to create the best possible content,” says Russell. “LEDs offer incredible flexibility in terms of color temperature, intensity, and energy consumption. It was a no-brainer for this upgrade.

The old dimmer-per-circuit system relied on many SCR (Silicon Controlled Rectifiers) dimmers, each responsible for controlling the output of one or more lighting fixtures. While this system worked well for incandescent lighting, it wasn’t suited to the more complex demands of LED lights, which provide precise control over intensity, color, and beam angle. In the new network driver system, each LED fixture is equipped with its own driver — a small electronic device that controls the output of the LED from zero to 100%. A Local Area Network was installed to distribute DMX control signals to all luminaire mounting positions to address drivers. The existing dimmer bank was repurposed to act as a relay panel to provide constant power to the LED luminaires using the existing load circuit distribution.

Lighting designers can now place fixtures wherever they like and adjust settings with precision, dialing in the exact intensity, color, and beam angle required for each shot. This level of control is especially important in a studio like this one, where different productions have their own unique lighting requirements.

Lighting designer/director Chris Boyd installed the fixtures and programmed the lighting’s DMX controllers, alongside Lighting Designer Erik Rodgers. The Ron Hull Studio hosts about a dozen different productions with multiple sets,” explains Boyd. “Some are weekly, some seasonal, but they each have a slightly different look. But each production needs to say Nebraska Public Media while retaining its own character. Now, we have so many fixtures, angles and options for producers. With the new lighting and rigging we’ve employed, they can achieve a wide range of lighting effects that were simply not possible before. This opens up entirely new creative possibilities for them.”

Russell echoes that enthusiasm for the revamped studio: “The flexibility starts in the rig with being able to decide where each fixture goes. Each fixture can be located and dialed in precisely to where the user wants it. It’s truly heaven for a lighting designer. There are a variety of different places to hang fixtures and angles for whatever you want. If you can’t create great lighting in this studio, you’re just not trying very hard.”

A collaboration of experts: Brightline and Devlin Design Group

To ensure that the lighting system met the highest standards, Nebraska Public Media brought in one of the top names in the lighting business: Brightline. The latest Brightline studio LED lighting is in use at high-profile broadcast stations throughout the U.S., including several owned by Scripps Media and Sinclair Broadcast Group.

Brightline’s Series One L1.4 and L1.2 LED studio fixtures were key in the new lighting system. Russell describes them as superior “directional soft lights. It’s not at all your typical directional light. They don’t create a real sharp edge. Typically, you put a profile spot on the subject, and boom, you’ve got a big drop shadow. It can be hard to get rid of that edge. But with a soft light with a soft edge like the L1.4 and L1.2’s, you can accomplish a long throw without that hard edge — even with an intense amount of light. Adding an intensifier with a narrow angle, you get a nice, tight field that’s very bright but still has a soft edge. For my money, Brightline provides the best studio lighting for TV available today.”

Brightline Mako and Minnow profile spotlights and Lupo Fresnels are also included in the lighting redesign. “They offer a comprehensive package,” reports Russell. “And all the fixtures are very competitive in terms of cost and performance. Sometimes there could be several luminaires listed on a job. But with all your gear coming from one source, communication is so much simpler. I really appreciate that Brightline has an array of luminaires.”

In addition to the new lighting system, the studio’s set design was also given a major overhaul, thanks to the work of Devlin Design Group (DDG). Known for their innovative and visually striking designs, DDG worked closely with Nebraska Public Media’s producers to create a set that could accommodate the wide range of productions hosted in the Ron Hull Studio. The new design not only looks stunning on camera but takes full advantage of the studio’s upgraded rigging and lighting systems, allowing for seamless transitions between different shows.

“Working with Brightline and DDG was a pleasure,” Russell reports. “Their expertise and creativity were essential to the success of this project. Together, we’ve created a studio that is not only functional but a joy to work in.”

A studio for the next 50 years

The completion of the Ron Hull Studio upgrade marks a new chapter in the history of Nebraska Public Media. What was once a pioneering studio in the 1970s has been reborn as a state-of-the-art facility. The new rigging and lighting systems offer a level of flexibility and control that would have been unimaginable when the studio was first built, ensuring that it Studio One remains a vital part of Nebraska’s media landscape for decades to come. Kathy Katz, Managing Director of Brightline, emphasized the impact of these changes: “With the new studio LED lighting systems, Nebraska Public Media is not just more energy-efficient, but it also has the versatility needed to meet the creative demands necessary today. This upgrade enables them to continue to produce engaging, quality content with greater ease and reliability. We couldn’t be happier to be a part of this upgrade for Nebraska Public Media.”

The upgrade is about more than just technology. It’s a testament to the commitment of Nebraska Public Media’s staff, who have worked tirelessly to ensure that the studio remains a leader in the industry. It’s also a reflection of the station’s deep connection to its audience, who expect the highest standards of production from their local public broadcaster.

The people behind the project

The success of the Ron Hull Studio upgrade is due in large part to the dedication and expertise of the team behind the project led by Nancy Finken, Chief Content Officer. Doug Carlson, retired Director of Production Services and Chad Mayer, Director of Production Services played a key role in overseeing the upgrade, working closely with both the design and construction teams to ensure that every detail was executed to perfection. Their deep understanding of the studio’s history and its importance to Nebraska Public Media and technical expertise was instrumental in guiding the project to completion.

Gavin Felix, Director of Television and Digital Production, provided invaluable insight into the needs of the station’s various productions. Collaboration from station leaders with the design team ensured that the new studio would not only meet the technical requirements of modern production but also enhance the storytelling capabilities of Nebraska Public Media’s content.

Doug Anderson, Branch Manager of IES Commercial & Industrial, provided general contracting support alongside key systems integrator/ sub-contractor, Heartland Scenic Studios, for all demolition, removal and installation work.

A bright future for Nebraska Public Media

As Nebraska Public Media looks to the future, the upgraded Ron Hull Studio stands as a symbol of the station’s commitment to providing top tier programming to its audience. The new rigging and lighting systems provide the flexibility and control needed to produce high-quality content. But more than that, they ensure that the studio will continue to be a place where stories are brought to life, where creativity flourishes, and where the legacy of Nebraska Public Media is carried forward into the next 50 years.

In a world where media landscapes are constantly evolving, the Ron Hull Studio’s transformation is a reminder that sometimes, the best way to stay ahead is to honor the past while embracing the future. With its state-of-the-art technology and a renewed sense of purpose, the future of Nebraska Public Media looks brighter than ever.

The lighting updates in the Ron Hull Studio at Nebraska Public Media include:

Brightline L1.2X variable white with DMX control (6x)

Brightline L1.4 variable white with DMX control (57x)

Mako/2 variable white profile spotlight with DMX control (31x)

Minnow/2 variable white profile spotlight with DMX control (15x)

Mako/5 RGBAL profile spotlight with DMX control (10x)

Lupo 650 DMX variable white Fresnel (8)

Lupo 1000 DMX variable white Fresnel (33)

Lupo 2000 DMX variable white Fresnel (4)

Flex-T1 with DMX control (14x)

Case study contributed by Brightline.

Nebraska Public Media’s Revamps Iconic Studio with New Rigging and Lighting Systems

ebraska Public Media’s Revamps Iconic Studio with

New Rigging and Lighting Systems

The Challenge

Nebraska Public Media’s Ron Hull Studio, built in 1968 and commissioned in 1970, had long been an iconic space for local educational programming, producing shows like the legendary “Backyard Farmer” and “Big Red Wrap Up.” Spanning 100 feet by 60 feet, the studio featured an advanced rigging system and lighting setup that was groundbreaking for its time. However, as production technology advanced, the studio’s infrastructure began to show its age. The motorized rigging and lighting systems were outdated, and manual control panels posed electrical hazards, leading to frequent arcing and burnout.

The studio needed a significant overhaul to meet the expectations of modern viewers, who now had a wider array of visually dynamic programming to choose from. Doug Carlson, former Director of Production Services, and Nancy Finken, Chief Content Officer, recognized that the Ron Hull Studio’s lighting and rigging systems were no longer competitive, compromising the quality of the station’s broadcasts. Carlson came out of retirement to oversee the much-needed transformation, aiming to create a more flexible, efficient, and visually compelling space.

The Solution

To revamp the Ron Hull Studio, Nebraska Public Media turned to top industry experts, including Norman Russell, Principal Consultant and Lighting Group Leader for NV5, who spearheaded the redesign. The project involved stripping the studio down to its bare bones, removing all the outdated rigging, motors, and lighting fixtures, and installing cutting-edge systems that would last for decades.

The newly designed rigging system consisted of 60 package hoists installed in 20 rows across the studio’s 100-foot length. These hoists provided more reliable and safer support for lighting fixtures, scenic elements, and other equipment. A fixed pipe grid was installed around the studio’s perimeter to offer additional rigging points for lighting and backdrops. The streamlined rigging allowed for greater safety and flexibility while reducing the overall number of hoists from 109 to 60 without sacrificing functionality.

Brightline LED fixtures were integral to the lighting system upgrade, with Series One L1.4 and L1.2 LED studio lights replacing the aging incandescent system. Each LED fixture was equipped with a network driver system for precision control over intensity, color, and beam angles, allowing lighting designers to adjust settings based on each production’s unique needs. Brightline’s Mako and Minnow profile spotlights, along with Lupo Fresnels, were also added, offering flexibility in both directional and soft lighting. The entire system was controlled via DMX, enabling seamless coordination across the studio’s productions.

Chris Boyd and Erik Rodgers, experienced lighting designers, installed and programmed the new fixtures, allowing Nebraska Public Media to tailor lighting effects to each show’s distinct character.

The Results

The transformation of the Ron Hull Studio has breathed new life into Nebraska Public Media’s productions, significantly enhancing their visual appeal. With the upgraded rigging and LED lighting systems, the studio now has the flexibility to meet the creative demands of a wide range of programming, from weekly series to seasonal specials. Chris Boyd, one of the lighting designers, noted, “The new rigging and lighting allow us to achieve a wide range of effects that were simply not possible before. It opens up entirely new creative possibilities.”

The LED lighting system has also resulted in improved energy efficiency. By replacing the old incandescent system with LEDs, Nebraska Public Media reduced power consumption while enhancing lighting quality. The station’s production team can now create visually dynamic content with greater ease, offering viewers more engaging programming.

Kathy Katz, Managing Director of Brightline, summed up the impact of the project: “With the new studio LED lighting systems, Nebraska Public Media is not just more energy-efficient but also has the versatility needed to meet the creative demands necessary today. This upgrade enables them to continue producing engaging, quality content with greater ease and reliability.”

The overhaul ensures that the Ron Hull Studio will remain a vital part of Nebraska’s media landscape for the next 50 years, honoring its past while embracing the future.

The Challenge

Nebraska Public Media’s Ron Hull Studio, built in 1968 and commissioned in 1970, had long been an iconic space for local educational programming, producing shows like the legendary “Backyard Farmer” and “Big Red Wrap Up.” Spanning 100 feet by 60 feet, the studio featured an advanced rigging system and lighting setup that was groundbreaking for its time. However, as production technology advanced, the studio’s infrastructure began to show its age. The motorized rigging and lighting systems were outdated, and manual control panels posed electrical hazards, leading to frequent arcing and burnout.

The studio needed a significant overhaul to meet the expectations of modern viewers, who now had a wider array of visually dynamic programming to choose from. Doug Carlson, former Director of Production Services, and Nancy Finken, Chief Content Officer, recognized that the Ron Hull Studio’s lighting and rigging systems were no longer competitive, compromising the quality of the station’s broadcasts. Carlson came out of retirement to oversee the much-needed transformation, aiming to create a more flexible, efficient, and visually compelling space.

The Solution

To revamp the Ron Hull Studio, Nebraska Public Media turned to top industry experts, including Norman Russell, Principal Consultant and Lighting Group Leader for NV5, who spearheaded the redesign. The project involved stripping the studio down to its bare bones, removing all the outdated rigging, motors, and lighting fixtures, and installing cutting-edge systems that would last for decades.

The newly designed rigging system consisted of 60 package hoists installed in 20 rows across the studio’s 100-foot length. These hoists provided more reliable and safer support for lighting fixtures, scenic elements, and other equipment. A fixed pipe grid was installed around the studio’s perimeter to offer additional rigging points for lighting and backdrops. The streamlined rigging allowed for greater safety and flexibility while reducing the overall number of hoists from 109 to 60 without sacrificing functionality.

Brightline LED fixtures were integral to the lighting system upgrade, with Series One L1.4 and L1.2 LED studio lights replacing the aging incandescent system. Each LED fixture was equipped with a network driver system for precision control over intensity, color, and beam angles, allowing lighting designers to adjust settings based on each production’s unique needs. Brightline’s Mako and Minnow profile spotlights, along with Lupo Fresnels, were also added, offering flexibility in both directional and soft lighting. The entire system was controlled via DMX, enabling seamless coordination across the studio’s productions.

Chris Boyd and Erik Rodgers, experienced lighting designers, installed and programmed the new fixtures, allowing Nebraska Public Media to tailor lighting effects to each show’s distinct character.

The Results

The transformation of the Ron Hull Studio has breathed new life into Nebraska Public Media’s productions, significantly enhancing their visual appeal. With the upgraded rigging and LED lighting systems, the studio now has the flexibility to meet the creative demands of a wide range of programming, from weekly series to seasonal specials. Chris Boyd, one of the lighting designers, noted, “The new rigging and lighting allow us to achieve a wide range of effects that were simply not possible before. It opens up entirely new creative possibilities.”

The LED lighting system has also resulted in improved energy efficiency. By replacing the old incandescent system with LEDs, Nebraska Public Media reduced power consumption while enhancing lighting quality. The station’s production team can now create visually dynamic content with greater ease, offering viewers more engaging programming.

Kathy Katz, Managing Director of Brightline, summed up the impact of the project: “With the new studio LED lighting systems, Nebraska Public Media is not just more energy-efficient but also has the versatility needed to meet the creative demands necessary today. This upgrade enables them to continue producing engaging, quality content with greater ease and reliability.”

The overhaul ensures that the Ron Hull Studio will remain a vital part of Nebraska’s media landscape for the next 50 years, honoring its past while embracing the future.

Find out more on the Nebraska Public Media redesign

The Challenge

Nebraska Public Media’s Ron Hull Studio, built in 1968 and commissioned in 1970, had long been an iconic space for local educational programming, producing shows like the legendary “Backyard Farmer” and “Big Red Wrap Up.” Spanning 100 feet by 60 feet, the studio featured an advanced rigging system and lighting setup that was groundbreaking for its time. However, as production technology advanced, the studio’s infrastructure began to show its age. The motorized rigging and lighting systems were outdated, and manual control panels posed electrical hazards, leading to frequent arcing and burnout.

The studio needed a significant overhaul to meet the expectations of modern viewers, who now had a wider array of visually dynamic programming to choose from. Doug Carlson, former Director of Production Services, and Nancy Finken, Chief Content Officer, recognized that the Ron Hull Studio’s lighting and rigging systems were no longer competitive, compromising the quality of the station’s broadcasts. Carlson came out of retirement to oversee the much-needed transformation, aiming to create a more flexible, efficient, and visually compelling space.

The Solution

To revamp the Ron Hull Studio, Nebraska Public Media turned to top industry experts, including Norman Russell, Principal Consultant and Lighting Group Leader for NV5, who spearheaded the redesign. The project involved stripping the studio down to its bare bones, removing all the outdated rigging, motors, and lighting fixtures, and installing cutting-edge systems that would last for decades.

The newly designed rigging system consisted of 60 package hoists installed in 20 rows across the studio’s 100-foot length. These hoists provided more reliable and safer support for lighting fixtures, scenic elements, and other equipment. A fixed pipe grid was installed around the studio’s perimeter to offer additional rigging points for lighting and backdrops. The streamlined rigging allowed for greater safety and flexibility while reducing the overall number of hoists from 109 to 60 without sacrificing functionality.

Brightline LED fixtures were integral to the lighting system upgrade, with Series One L1.4 and L1.2 LED studio lights replacing the aging incandescent system. Each LED fixture was equipped with a network driver system for precision control over intensity, color, and beam angles, allowing lighting designers to adjust settings based on each production’s unique needs. Brightline’s Mako and Minnow profile spotlights, along with Lupo Fresnels, were also added, offering flexibility in both directional and soft lighting. The entire system was controlled via DMX, enabling seamless coordination across the studio’s productions.

Chris Boyd and Erik Rodgers, experienced lighting designers, installed and programmed the new fixtures, allowing Nebraska Public Media to tailor lighting effects to each show’s distinct character.

The Results

The transformation of the Ron Hull Studio has breathed new life into Nebraska Public Media’s productions, significantly enhancing their visual appeal. With the upgraded rigging and LED lighting systems, the studio now has the flexibility to meet the creative demands of a wide range of programming, from weekly series to seasonal specials. Chris Boyd, one of the lighting designers, noted, “The new rigging and lighting allow us to achieve a wide range of effects that were simply not possible before. It opens up entirely new creative possibilities.”

The LED lighting system has also resulted in improved energy efficiency. By replacing the old incandescent system with LEDs, Nebraska Public Media reduced power consumption while enhancing lighting quality. The station’s production team can now create visually dynamic content with greater ease, offering viewers more engaging programming.

Kathy Katz, Managing Director of Brightline, summed up the impact of the project: “With the new studio LED lighting systems, Nebraska Public Media is not just more energy-efficient but also has the versatility needed to meet the creative demands necessary today. This upgrade enables them to continue producing engaging, quality content with greater ease and reliability.”

The overhaul ensures that the Ron Hull Studio will remain a vital part of Nebraska’s media landscape for the next 50 years, honoring its past while embracing the future.

Find out more on the Nebraska Public Media redesign

Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems

Bridgeville, Penn. – October 1, 2024 – In the heart of the Midwest, nestled within the expansive landscape of Nebraska, lies a broadcast studio that has been a beacon of innovation and creativity since its inception. Built in 1968 and commissioned in 1970, the Ron Hull Studio is a colossal 100 feet by 60 feet space located on the University of Nebraska’s Lincoln campus. Its original rigging plan with 109 motorized lighting battens was an engineering marvel typically found only in major media hubs like Los Angeles and New York City.

Fast forward to today, and the historic Ron Hull Studio has undergone a complete transformation. Its original lighting system, designed for incandescent loads, had been through one revision, but it was clear that a more comprehensive retrofit was necessary to meet the demands of modern production. Nebraska Public Media’s Doug Carlson, former Director of Production Services, and Nancy Finken, Chief Content Officer, recognized that the studio needed a full overhaul. Carlson came back after retirement to help manage the project.

The Importance of Rigging

One of the most significant aspects of the Ron Hull Studio upgrade was the complete revamp of the rigging system. The original setup, while groundbreaking in its time, was in dire need of an upgrade. The new design had to retain the flexibility that made the original studio so versatile while incorporating the latest in rigging technology. One of the country’s top lighting designers, Norman Russell, Principal Consultant and Lighting Group Leader for NV5, served as consultant designer for the project. Russell designed the rigging and lighting systems with design and engineering support by NV5 Senior Lighting Designer Steve Cooper.

“The original rigging system, while a marvel in its time, didn’t fit their current and future needs,” explains Russell. “We created a design that preserved the studio’s incredible flexibility while anticipating the challenges of the next few decades.”

All the lights were taken down, the pipes lowered, and the old motors and rigging systems removed. Rows of package hoists, each about 12 to 14 feet wide, were installed along the studio’s 100-foot length, with three hoists per row, 20 rows. This setup provided ample support for lighting fixtures, scenic elements, and other production equipment, allowing for a wide range of configurations depending on the needs of the production. In total, 60 new hoists were installed.

Lighting Heaven: The Power of LED Technology

While the rigging system forms the bones of the studio, lighting design is crucial in creating the new look. The Ron Hull Studio’s lighting system upgrade marked a significant shift from the old dimmer-per-circuit system to a state-of-the-art network driver system with LED fixtures.

In the new network driver system, each LED fixture is equipped with its own driver – a small electronic device that controls the output of the LED from zero to 100%. A Local Area Network was installed to distribute DMX control signals to all luminaire mounting positions to address drivers.

Lighting designers can now place fixtures wherever they like and adjust settings with precision, dialing in the exact intensity, color, and beam angle required for each shot. This level of control is especially important in a studio like this one, where different productions have their own unique lighting requirements. Lighting designer/director Chris Boyd installed the fixtures and programmed the lighting’s DMX controllers, alongside Lighting Designer Erik Rodgers.

The Ron Hull Studio hosts about a dozen different productions with multiple sets,” explains Boyd. “Some are weekly, some seasonal, but they each have a slightly different look. But each production needs to say Nebraska Public Media while retaining its own character. Now, we have so many fixtures, angles and options for producers. With the new lighting and rigging we’ve employed, they can achieve a wide range of lighting effects that were not possible before.”

Russell echoes that enthusiasm for the revamped studio: “The flexibility starts in the rig with being able to decide where each fixture goes. Each fixture can be located and dialed in precisely to where the user wants it. It’s truly heaven for a lighting designer. There are a variety of different places to hang fixtures and angles for whatever you want. If you can’t create great lighting in this studio, you’re just not trying very hard.”

To ensure that the lighting system met the highest standards, Nebraska Public Media brought in one of the top names in the lighting business: Brightline. The latest Brightline studio LED lighting is in use at high-profile broadcast stations throughout the U.S.

Brightline’s Series One L1.4 and L1.2 LED studio fixtures were key in the new lighting system. Russell describes them as superior “directional soft lights. It’s not at all your typical directional light. They don’t create a real sharp edge. Typically, you put a profile spot on the subject, and boom, you’ve got a big drop shadow. It can be hard to get rid of that edge. But with a soft light with a soft edge like the L1.4 and L1.2’s, you can accomplish a long throw without that hard edge – even with an intense amount of light. Adding an intensifier with a narrow angle, you get a nice, tight field that’s very bright but still has a soft edge. For my money, Brightline provides the best studio lighting for TV available today.”

Brightline Mako and Minnow profile spotlights and Lupo Fresnels are also included in the lighting redesign. “They offer a comprehensive package,” reports Russell. “And all the fixtures are very competitive in terms of cost and performance. Sometimes there could be several luminaires listed on a job. But with all your gear coming from one source, communication is so much simpler. I really appreciate that Brightline has an array of luminaires.”

The studio’s set design was given a major overhaul, thanks to the work of Devlin Design Group (DDG). Known for their innovative and visually striking designs, DDG worked closely with Nebraska Public Media’s producers and Brightline to create a set that could accommodate an exciting range of productions.

Completing the dream team were Doug Anderson, Branch Manager of IES Commercial & Industrial, who provided general contracting support; and key systems integrator/ sub-contractor, Heartland Scenic Studios, for demolition, removal and installation work.

The lighting updates in the Ron Hull Studio at Nebraska Public Media include:

Brightline L1.2X variable white with DMX control (6x)
Brightline L1.4 variable white with DMX control (57x)
Mako/2 variable white profile spotlight with DMX control (31x)
Minnow/2 variable white profile spotlight with DMX control (15x)
Mako/5 RGBAL profile spotlight with DMX control (10x)
Lupo 650 DMX variable white Fresnel (8)
Lupo 1000 DMX variable white Fresnel (33)
Lupo 2000 DMX variable white Fresnel (4)
Flex-T1 with DMX control (14x)

About Nebraska Public Media

Nebraska Public Media has connected citizens with news, sports, education and entertainment since 1954. Providing global and compelling stories from PBS and NPR, the statewide public media network also produces award-winning local content. Its programs and services reach Nebraskans on television, radio, online, social media and mobile apps. Visit NebraskaPublicMedia.org for more information.

About Brightline
A leading manufacturer of energy-efficient lighting systems for broadcast, videoconference, e-learning, and government, Brightline’s mission is to enable communication through clarity. With more than 5,000 customers in over 35 countries, Brightline specializes in enhancing the presentation of visual images by providing high quality, environmentally responsible, and cost-effective evolutionary lighting solutions. Get enlightened at brightlines.com.

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Press Contact:
Robin Hoffman
Pipeline Communications
(917) 763-8069
robinhoffman@pipecomm.com

Products:

L1.2: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/

L1.4 https://brightlines.com/product/seriesone-l1-4-led-studio-fixture/

Mako and Minnow: https://brightlines.com/product-category/profile-spotlights/

Lupo: https://brightlines.com/product-category/fresnels-and-panels/

Flex-T: https://brightlines.com/architectural/

Wireless DMX: https://brightlines.com/product/dmx-rdm/

Follow Brightline:

LinkedIn: https://www.linkedin.com/company/brightline-l-p-/

Get the full story on the KBTC upgrade

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Lighting Redesign at KBTC Tacoma Optimizes Existing Infrastructure

“Every dollar that was spent on this project can be seen on the set and guests. By making the most of the existing electrical infrastructure we saved a lot of time and money.”
– Lighting Director Bruce Aleksander

With the multiple-award-winning “Northwest Now” (a weekly public affairs program) and fundraising events shot in their Tacoma studio, KBTC-TV needed an update to its on-set incandescent and fluorescent lighting. KBTC has a main and a secondary set plus two areas for stand-up coverage. Noted Lighting Director Bruce Aleksander was called in to develop an improved lighting design for the facility that efficiently used the existing electrical distribution system while replacing its 1970’s era dimming system.

Aleksander’s lighting design made the most of KBTC’s current assets with only cost-effective upgrades. “Every dollar that was spent on this project can be seen on the set and guests,” he explains. “By making the most of the existing electrical infrastructure we saved a lot of time and money. Once I examined the existing distribution, I picked the easiest path to achieve the station’s goals.

“The goal is to provide beautiful lighting that will present the station’s hosts and guests in the best lighting possible. Once I understand what the client needs, then I can envision the look that will best suit those needs. After that, I can work out what equipment will be needed to create the look I envisioned.”

A Kliegl lighting/dimming system was repurposed, adding the ability to route non-dimming power to new solid-state soft lights from Brightline Lighting. The station replaced existing fixtures with two dozen Brightline L1.2 and L1.4 studio soft lights and one dozen Lupo DayLED 1000 and 2000 Fresnels. The legacy dimmers and control system were replaced with an ETC lighting console and DMX-512 lighting control protocol. Plug adapters were easily added to utilize the existing electrical distribution system.

KTRK Optimizes Look of Live Streams and Broadcasts with Smart Lighting Design from Brightline

“Thanks to the daisy-chain ability of the Brightline fixtures, we only used three 20A relay circuits to power the entire rig.”
– Lighting Designer/Director Chris Boyd

With 75 hours of locally produced newscasts each week and live and streaming content on Roku, Fire TV, Amazon and its ABC13 Houston app, the studios of broadcaster KTRK are constantly producing engaging video content for local viewers – however they’re watching.

A long-time Brightline customer, KTRK has over 60 Brightline fixtures. In 2023, they purchased 37 Brightline L1.2 variable white fixtures, eight L1.4 fixtures, and five Brightline Lupo fresnels to replace existing fluorescent soft fixtures and augment their LED fresnel inventory in the main news studio.

In June of 2024, KTRK added to its Brightline complement. New L1.2 and L1.4 fixtures with DMX control now light all of Studio B. The station has been eager to add functionality to Studio B, including expanding its chromakey capability to enable virtual set production. A large chromakey corner, lit by Brightline, is the start of a complete upgrade. Later plans involve an interview set and possibly a talent stand-up area.

Lighting Designer/Director Chris Boyd installed the fixtures. Rob Kreps with Barbizon Lighting Company programmed the DMX console based on settings supplied by Boyd. “Thanks to the daisy-chain ability of the Brightline fixtures, we only used three 20A relay circuits to power the entire rig. Control was provided by DMX cable from an ETC Element console,” explained Boyd. “The set was lit to 3200k tungsten but can go up to 5600k daylight when needed.”

Read the full story on the KTRK upgrade here

Houston ABC-Owned KTRK Optimizes Look of Live Streams and Broadcasts with Smart Lighting Design from Brightline

Bridgeville, Penn. – July 9, 2024 – Houston broadcaster KTRK-TV has been on the scene for 70 years and is known for community outreach as well as investigative journalism. Journalist alumni include Dan Rather and legendary consumer reporter Marvin Zindler. Home of the Houston Texans and Houston Marathon, it is also the city’s most-watched¹ news station.

KTRK is the only major network affiliate in Houston to occupy its original studio facility. With 75 hours of locally produced newscasts each week and live and streaming content on Roku, Fire TV, Amazon and its ABC13 Houston app on Apple TV, its studios are continually updated to produce the best possible video content for local viewers – however they’re watching.

KTRK is a long-time Brightline customer, with over 60 Brightline fixtures in their Bissonnet Street location. Just last year they purchased 37 Brightline L1.2 variable white fixtures, eight L1.4 fixtures, and five Brightline Lupo fresnels to replace existing fluorescent soft fixtures and augment their LED fresnel inventory in the main news studio.

Late last month KTRK added to its Brightline complement. New L1.2 and L1.4 fixtures with DMX control now light all of Studio B. The station has been eager to add functionality to Studio B, including expanding its chromakey capability to enable virtual set production. A large chromakey corner, lit by Brightline, is the start of a complete upgrade. Later plans involve an interview set and possibly a talent stand-up area.

Lighting Designer/Director Chris Boyd installed the fixtures. Rob Kreps with Barbizon Lighting Company programmed the DMX console based on settings supplied by Boyd. “Thanks to the daisy-chain ability of the Brightline fixtures, we only used three 20A relay circuits to power the entire rig. Control was provided by DMX cable from an ETC Element console,” explained Boyd. “The set was lit to 3200k tungsten but can go up to 5600k daylight when needed.”

“KTRK has always been a true partner with Brightline,” said Kathy Katz, Managing Partner, Brightline. “We’ve worked closely with them for several years and look forward to many more. They truly understand the transformative power of great broadcast lighting.”

Last month’s lighting updates in Studio B at KTRK are as follows:

Brightline L1.2X variable white with DMX control (2x)
Brightline L1.4 variable white with DMX control (17x)
Wide control screens on back lights
Fixture mounted intensifiers on front lights
ETC Element console

1. https://abcotvpress.com/stations/ktrk-tv-houston/

About Brightline
A leading manufacturer of energy-efficient lighting systems for broadcast, videoconference, e-learning, and government, Brightline’s mission is to enable communication through clarity. With more than 5,000 customers in over 35 countries, Brightline specializes in enhancing the presentation of visual images by providing high quality, environmentally responsible, and cost-effective evolutionary lighting solutions. Get enlightened at brightlines.com.

# # #

Press Contact:
Robin Hoffman
Pipeline Communications
(917) 763-8069
robinhoffman@pipecomm.com

Products:

L1.2: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/

L1.4 https://brightlines.com/product/seriesone-l1-4-led-studio-fixture/

Wireless DMX: https://brightlines.com/product/dmx-rdm/

Follow Brightline:

LinkedIn: https://www.linkedin.com/company/brightline-l-p-/

https://www.tvtechnology.com/opinion/whats-the-best-color-temperature-for-lighting-tv-studios

YouTube: https://www.youtube.com/@BrightlineLighting

# # #

1 – TV Technology, April 2024 issue, “What’s the Best Color Temperature for Lighting TV Studios,” author Bruce Aleksander

Lighting Redesign at KBTC Tacoma Optimizes Existing Infrastructure While Replacing Legacy Fixtures with Brightline Soft Lights

Bridgeville, Penn. – June 25, 2024 – Known for its Museum of Glass, blue collar roots, and location on the banks of the Puget Sound, Tacoma, Washington is a picturesque city a with deep artistic and working-class background. It’s also a town with a thriving PBS station – KBTC-TV. Operating as a public television station through Bate’s Technical College, KBTC reaches a vast audience of 4.3 million from southwest Washington through southern British Columbia.

With the multiple-award-winning “Northwest Now” (a weekly public affairs program) and fundraising events shot in their Tacoma studio, the station needed an update to its on-set incandescent and fluorescent lighting. KBTC has a main and a secondary set plus two areas for stand-up coverage. Noted Lighting Director Bruce Aleksander was called in to develop an improved lighting design for the facility that efficiently used the existing electrical distribution system while replacing its 1970’s era dimming system.

Aleksander’s lighting design made the most of KBTC’s current assets with only cost-effective upgrades. “Every dollar that was spent on this project can be seen on the set and guests,” he explains. “By making the most of the existing electrical infrastructure we saved a lot of time and money. Once I examined the existing distribution, I picked the easiest path to achieve the station’s goals.

“The goal is to provide beautiful lighting that will present the station’s hosts and guests in the best lighting possible. Once I understand what the client needs, then I can envision the look that will best suit those needs. After that, I can work out what equipment will be needed to create the look I envisioned.”

A Kliegl lighting/dimming system was repurposed, adding the ability to route non-dimming power to new solid-state soft lights from Brightline Lighting. The station replaced existing fixtures with two dozen Brightline L1.2 and L1.4 studio soft lights and one dozen Lupo DayLED 1000 and 2000 Fresnels. The legacy dimmers and control system were replaced with an ETC lighting console and DMX-512 lighting control protocol. Plug adapters were easily added to utilize the existing electrical distribution system.

“Brightline fixtures are simply the best ‘soft’ lights in the industry,” continues Aleksander. “And the ability to use available accessories for a control of a soft light makes this a unique system.”

The Brightline soft light’s adjustable color temperature enabled the design team to light at 4400K (Kelvin) – a more neutral color temperature well suited for rendering skin tones.¹ That color temperature is also close to the native color temperature of KBTC’s existing video displays on set, ensuring a consistent look and allowing the station to keep more of their legacy equipment.

Another cost savings in Aleksander’s redesign is the subsequent power reduction. The new LED fixtures use 1/5^ththe power of what the previous incandescent lights used. “This is not only a direct savings of energy it takes to light the set, but also a major reduction in the energy it takes to cool the studio,” Kathy Katz, Co-Founding Partner, Brightline explains. “Many studios find that the energy savings alone provide a return on investment in as little as two and a half years. As is the case with LEDs vs. incandescents, there are no lamps to change over the lifetime of the fixtures. At a time when we’re looking to reduce our CO2 emissions, this represents a significant contribution toward addressing climate change.”

Steve Newsom, Director of Engineering, KBTC, is thankful for Aleksander and Brightline’s thoughtful approach to lighting design. “We couldn’t be happier with the end result. With this redesign, not only is the video quality of our productions vastly improved but we’re doing it in a way that worked within our budget and will ultimately reduce our operating costs. It’s a win-win for everyone at KBTC.”

About Brightline
A leading manufacturer of energy-efficient lighting systems for broadcast, videoconference, e-learning, and government, Brightline’s mission is to enable communication through clarity. With more than 5,000 customers in over 35 countries, Brightline specializes in enhancing the presentation of visual images by providing high quality, environmentally responsible, and cost-effective evolutionary lighting solutions. Get enlightened at brightlines.com.

# # #

1 – TV Technology, April 2024 issue, “What’s the Best Color Temperature for Lighting TV Studios,” author Bruce Aleksander

https://www.tvtechnology.com/opinion/whats-the-best-color-temperature-for-lighting-tv-studios

Press Contact:
Robin Hoffman
Pipeline Communications
(917) 763-8069
robinhoffman@pipecomm.com

Products:

L1.2: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/

L1.4: https://brightlines.com/product/seriesone-l1-4-led-studio-fixture/

Fluorescent to LED Upgrade Kit: https://brightlines.com/product/seriesone-fluorescent-to-led-upgrade-kit/

Follow Brightline:

LinkedIn: https://www.linkedin.com/company/brightline-l-p-/