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Kristina Rosemeier
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Phone: 1.412.838.2976
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Phone: 1.412.206.0113
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Phone: 1.412.504.9973
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Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Arizona
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
California
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Delaware
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Florida
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Georgia
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Idaho
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Illinois
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Indiana
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Iowa
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Kansas
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Maine
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Maryland
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Michigan
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Minnesota
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Missouri
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Montana
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Nebraska
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
New Hampshire
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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/
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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.
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.
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.
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.
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:
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Facebook: https://www.facebook.com/onthebrightline
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Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
New Jersey
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
New Mexico
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
New York
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
North Carolina
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
North Dakota
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Ohio
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Oklahoma
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Pennsylvania
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
South Dakota
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Tennessee
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Texas
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Utah
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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
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Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
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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.
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.
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.
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Look Your Best on Camera, Every Time
The Brightline ZELo Personal Video Light
Turn off your overhead lights and turn on a ZELo. Designed by the premier lighting supplier to TV studios and corporate A/V facilities, the Brightline ZELo provides studio-quality lighting from any desktop. It has soft and adjustable lighting that can be tilted to provide the most flattering lighting angle.
With its variable color temperature, ZELo blends with any ambient room light environment. ZELo ranges from warm light (2700 degrees) to daylight (6500 degrees) and when paired with Brightline’s free app, iOS and Android portable devices can adjust brightness and color temperature, build and store settings, and set timers. The ZELo personal video light supports voice control through Alexa and Google Assistant devices and features built-in manual controls for easy to change settings.
ZELo’s telescoping arm raises and and lowers the light to provide clearance over desktop and laptop monitors. The new ZELo Grip raises a mobile phone off the desk to provide a more flattering camera angle for videoconferencing. It attaches to ZELo’s adjustable telescoping arm, and its positioning rod can be raised, lowered, rotated, and adjusted to hold the phone closer or further away from the subject. The camera mount, which can be independently adjusted as well, provides a snug hold for mobile phones and various-sized cameras. Position ZELo lights on either side of a video monitor to replicate studio lighting.
Say hello to ZELo.
Vermont
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Keycode Media Selects Turnkey Low Voltage Lighting System for Leading Government-Focused Technology Innovator
Ease of Installation, Realistic Color Reproduction, and Transparency to Users Motivates First Purchase of Brightline’s Completely New AV/720
Bridgeville, Penn. – July 1, 2025 – A Fortune 500 technology firm is the first to install the AV/720 low voltage lighting system from Brightline Lighting. Fresh off the line, the AV/720 is a self-contained solution for variable white lighting control over a single DMX cable. The system provides true color reproduction in concert with the highest color rendering fixtures available. Each system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color rendering Index). Power and control capability is located compactly within the AV/720.
The AV/720 solution at the firm facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures within a heavily used videoconferencing room.
Key Code Media, the systems integration company selected for the project, was looking for a lighting system that would be transparent to participants and provide the most realistic reproduction of people and the setting. Executives at Key Code made the decision to include the new AV/720 system with Brightline LED fixtures based on their clients’ needs. “This is a leading Fortune 500 company with a steady rotation of virtual meetings every day,” said Mark Siegel, VP of Business Development, Key Code Media. “They’re often sharing newly developed and complex plans for security, defense, health, and other top-level national concerns. Our goal was to design a comprehensive AV system that would make those participating in meetings as confident as possible with the richest visual presentation.”
Siegel shared that other lighting requirements included ease of use and sustainability: “The new AV/720 is a breakthrough in low voltage lighting control and performance. It has pure color adjustability with perfect color reproduction – all with low voltage control. And since it’s low voltage, anyone can install it. We’re thrilled Brightline gave us a sneak peek into this new lighting technology, and we’re eager to introduce more customers to the benefits of the AV/720.”
Lighting Director Dan McKendrick completed the AV/720 installation with Keycode. “It was very simple to install and offers the customer plug and play operation,” added McKendrick. “With the AV/720, you install the controller, lights, connect the digital cable, and you’re done. The data signal powers the whole thing with zero performance loss. It provides optimal videoconferencing lighting in a very busy room utilized by some of our nation’s leading security experts.”
The videoconferencing lighting at the VA-based company features the AV/720 system with Flex-Ts. The AV/720 is an all-in-one, low voltage control system for Brightline’s architectural ceiling-recessed fixture line. The Pup fresnel and Minnow ellipsoidal fixtures mount within the same housing as their power receptacle. And just like the Flex-T, the Pup and Minnow can rotate up to 180 degrees in both directions and can be recessed for periods of non-use, or for use as ambient room light. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
Brightline pre-labels fixtures, cables, and the AV/720 ports, creating a lighting by numbers approach that facilitates simple connection of the fixtures to the power and control system. With everything pre-programmed by Brightline before each system ships, onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
“It takes all the obstacles away from achieving excellent and flexible lighting,” explained Sam Cercone, Co-Founder, Brightline Lighting. “You have everything you need right there inside one smart, independent, comprehensive system with video and effects light, control, and low voltage power. Because the power is not traveling through an AC current, it’s super easy to install.”
The AV/720 provides self-contained power and control across a disparate family of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
About KeyCode Media
For over 20 years, Key Code Media has been a trusted provider of integrated solutions to businesses and facilities nationwide and offers with a team of over 200 experts, including engineers, project managers, service technicians, and training staff to deliver the latest Audio Visual, Broadcast, and Post Production solutions to various sectors. More information is available at https://www.keycodemedia.com.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
Brightline Lighting Delivers Breakthrough in Low Voltage Lighting Control and Performance
Bridgeville, Penn. – June 24, 2025 – Brightline Lighting introduces an all-in-one, low voltage control system for variable white lighting over a single DMX cable. Designed to provide seamless compatibility with low voltage professional AV systems, the AV/720 lighting control system offers a simple “lighting by numbers” installation with true color reproduction. Each AV/720 system drives a selection of up to 20 Brightline LED lights that may include the Flex-T, LVP, LVCI, LST, Pup fresnel, or Minnow profile spotlight – at 97 CRI (Color Rendering Index). As a fully DMX-compatible device, the AV/720 facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions.
Since the AV/720 arrives programmed and with pre-labeled cables and fixtures, installation is simplified. Onsite installers simply follow the numbers. If system expansion is desired, either with existing capacity or by adding a second AV/720, Brightline will run a new program at the factory and send the software update to support the expansion.
The AV/720 is compatible with all Brightline recessed architectural fixtures, including new versions of the Pup and Minnow. The fixtures are adjustable within a color temperature range of 3200 to 5600 degrees Kelvin, rendering this scalable system ideal for dynamically changing environments.
“The AV/720 takes all the obstacles away from achieving studio-quality lighting,” explained Tim Godby, Product Ambassador, Brightline Lighting. “Pro AV integrators, dealers, and designers have everything they need right there inside one smart, independent, comprehensive system. The AV/720 enables variable white, video and task light, power and control, all over low voltage power. Because the power is delivered over Class 2 wire, it’s super easy to install.”
Key Features:
- Lighting by numbers
- 600W power supply
- 20 inputs
- Up to 40 DMX channels
- Arrives pre-programmed
- Turnkey system
- Low-voltage power
- Variable control
- Seamless integration
The AV/720 provides self-contained power and control across a wide range of Brightline fixtures, with a low-voltage system that’s as green as it gets. With low voltage power, perfectly rendered variable white color, future scalability and DMX control easily interfaced to AV processors, the AV/720 is like the Grateful Dead’s music—not the best at what it does, the only one that does what it does.
For more information on the AV/720, please contact Brightline’s Product Ambassador,
Tim Godby, at tgodby@brightlines.com or 1-412-06-0114 or schedule a training session with Tim.
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
AV/720 Low Voltage DMX Control System
The AV/720 Low-Voltage Control System
"Lighting by the Numbers"
Introducing Brightline Lighting’s latest lighting revolution
This innovative low-voltage DMX solution directly addresses a significant pain point for Pro AV system designers and integrators: the often complex and time-consuming task of configuring dimming and control for a myriad of fixtures with varying power draws and color temperature options.
Pre-programmed and Configured
The AV/720 arrives pre-programmed and configured by Brightline to match your
unique lighting design specifications. Connect your fixtures to the AV/720 ports with
the pre-labeled cables, power the AV/720, and you’re ready to use a standard DMX
lighting console to set your light levels. Studio-quality, video-perfect lighting doesn’t get any easier than this.
20 Ports and 40 DMX Channels
The AV/720 uses one port per fixture module. Some Brightline fixtures have multiple modules, requiring multiple ports. Each port delivers power, control, and variable white light over 2 DMX channels and Class 2 wire. We call it “Lighting By the Numbers.”
Intelligent cable labels offer trouble-free connection
We’ve removed the hassle of wiring fixtures for power and control. Match the cable label with the corresponding fixture inputs and AV/720 ports, and you’re set.
Power, Scalability, and Peace Of Mind
The AV/720 delivers up to 600W of power over Class 2 wire. The available 20 Ports can power existing and future lighting fixtures, and the AV/720 can be daisy-chained for ultimate expandability. With a factory-programmed delivery, trouble-free cabling and installation, standard variable white, and power and control in one box, Pro AV integrators and designers can finally offer studio-quality video and task lighting with total peace of mind.
The AV/720 low voltage DMX control system installed in a heavily used videoconferencing room at a leading technology firm based in Virginia. In addition to task lighting, the AV/720 in this installation facilitates lighting color temperature, dimming, scenes, power, presets, and automated functions for 14 Brightline LED fixtures.
Industry Veteran Tim Godby Named to Lead Brightline Lighting Industry Education Initiative
Bridgeville, Penn. – May 27, 2025 – Brightline Lighting, a leading designer and supplier of video lighting systems for broadcast and AV applications, has appointed industry veteran Tim Godby as the company’s Product Ambassador. In this role, Godby is responsible for educating Brightline integrators, reps, and customers about existing and new lighting products and systems. Godby comes to Brightline from Bolin Technology, a manufacturer of PTZ cameras, where he was the Product Marketing Manager.
Tim Godby, Product Ambassador, Brightline Lighting
Godby is based in Brightline’s Pittsburgh office. He started in his new position earlier this month.
“Tim’s technical knowledge and communication skills are exactly what we were looking for in this new role,” said Sam Cercone, Co-Founder, Brightline Lighting. “He’s able to clearly demonstrate the commercial benefits of a new offering in a way that excites people to take a deeper look. Our technology changes rapidly, so we really wanted someone devoted solely to keeping our dealers, integrators and customers up to speed on the latest upgrades and new systems. Plus, he’s a tremendous digital storyteller, and we can’t wait to put his video creation skills to work on Brightline’s behalf. We’re all 100 percent confident he’s the perfect spokesperson for our company. And we’re thrilled he’s decided to join the Brightline family.”
Godby has over 30 years of AV management experience in pro audio, video, and lighting within the broadcast, corporate, house of worship, and education markets. He also brings over 11 years of marketing experience to his new role. While at Bolin, Godby produced and starred in an extensive series of well received videos highlighting the latest technology and customer application stories.
“Brightline has some very exciting plans for the near future, and I’m looking forward to leading their education efforts with the industry at large,” explained Godby. “They’ve got an incredible reputation as a premier lighting supplier to broadcasters, corporations, schools and government organizations, which will benefit my work. My goal has always been to establish genuine connections with people first. I believe in Brightline’s mission, its people and its technology. With that in mind, motivating others to understand the value of what they produce will come naturally. I’m looking forward to combining my corporate training, AV production and postproduction, and presentation skills in my new role.”
Godby will lead a series of classes on new Brightline offerings, starting next month. Sign up by emailing him at: tgodby@brightlines.com
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
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
Ryan Seacrest Foundation Brings Light to Children at Pediatric Hospitals through Seacrest Studios
Bridgeville, PA, February 18, 2025 — Designing jaw-dropping broadcast lighting is something the pros at Brightline Lighting do every day. CRI and lumens are part of their DNA. But there are projects where lighting goes beyond the physical and generates more lightness in life. Such is the case with Brightline’s involvement as a tech partner with the Ryan Seacrest Foundation (RSF). Starting in 2010, RSF builds state-of-the-art Seacrest Studios within children’s hospitals, providing hands-on broadcasting and entertainment activities to patients. The studio broadcasts on each hospital’s closed-circuit TV network directly to patients’ rooms. Fourteen children’s hospitals currently have a Seacrest Studio.
The initiative has clearly taken off. In just 18 months RSF opened new Seacrest Studios in Queens (NY), Memphis, Salt Lake City, and Atlanta. The studio at Children’s Healthcare of Atlanta Arthur M. Blank Hospital is the most recently completed project. It opened on October 11, 2024. New studios and upgrades to existing Seacrest Studios are planned in several hospitals over the next two years.
Meredith Seacrest Leach, Executive Director & COO of RSF explains the reason behind the studio’s popularity: “Children’s hospitals are realizing how important it is to not only care medically and physically for their patients, but to also provide a variety of options supporting their mental health and over all well-being. Seacrest Studios are designed to be a safe space where kids in the hospitals can escape and have fun. They are a ‘no-poke zone’ that allows kids to just be kids and help bring some joy and happiness during their time in the hospital. It’s been very rewarding to see leading pediatric hospitals continue to apply for one of our studios.”
For the folks at Brightline, being selected as a key part of the “no-poke zone” at hospitals nationwide has made a huge impact on the company internally. “It’s an honor to light Seacrest Studios,” says Kathy Katz, Managing Partner, Brightline Lighting. “They’re bringing real light into children’s lives, and we’re all so excited to play a part. Dealing with an illness can be such a serious, dark challenge, but with a full-scale production studio in the building, they get to experience a very different, positive challenge. It can make a profound change in a child’s day-to-day life at the hospital.”
Behind-the-scenes and on-camera opportunities abound at Seacrest Studios. “Patients are highly encouraged to learn how to use the equipment,” explains Nicole Mead, VP, Business Development & Operations, Ryan Seacrest Foundation. “It’s very important to Ryan that patients be hands-on in the studio in areas that spark their interest. For some patients that means a more behind-the-scenes approach – learning how to use camera equipment or how to edit content. For other patients that means working with studio staff to conceptualize, produce and even star in their own shows.”
It’s not just the kids who benefit from a hospital’s Seacrest Studio. It provides an entertaining escape for parents and siblings and instills pride in hospital staff. “When I was at the install at Cohen Children’s Medical Center in Queens, New York, I saw families waiting on surgery and test results watching the action in Seacrest Studios,” says Michael Zihmer, Brightline National Sales Manager. “It’s much more engaging than staring at a TV monitor of some generic programming in a waiting room. It takes you away from where you are for a moment. Suddenly, they’re not in a hospital anymore.”
Seacrest Studios are all top notch with a core component of broadcast-quality equipment that includes, in addition to Brightline SeriesONE and FlexT lighting fixtures: JVC cameras, JVC and NewTek (Vizrt) video switchers, SAS audio consoles, and Genelec monitors. It’s a package that consistently works within the various Seacrest Studios and a design concept that’s been developed and refined since the first studio installation.
To create the cleanest look with the greatest mobility, lighting is the first piece of the production package installed. To minimize floor clutter, all Brightline LED studio and in-ceiling architectural lights are placed overhead. This enables wheelchairs and gurneys to maneuver easily inside the space. It also provides greater flexibility for equipment placement and different shooting styles.
Mead has noticed the change since standardizing on Brightline lights: “It makes all the difference in the content produced, both live content and photography and videography to be published. We have noticed an immense difference in the quality of our content since installing the Brightline lighting packages.”
Studio lighting is designed to match the hospital’s architectural lighting nearby, with the goal of bringing studio-quality lighting into a non-studio environment. Fixtures used for the hospital’s house lighting must have a high CRI (Color Rendering Index) to match the production lighting. Being able to integrate the color temperature of both sets of lights creates a more cohesive look.
Most Seacrest Studios are at or near the hospital lobbies with an abundance of daylight and windows. The newly constructed three-story tall studio in the lobby of the Arthur M. Blank Hospital in Atlanta is surrounded by a glass atrium and can be seen from multiple floors.
The Foundation relies greatly on the expertise of its partners. In its selection of Brightline as its production lighting vendor of choice, Mead explains, “We were looking for a lighting partner known for its support and innovation. We needed a manufacturer that could provide the support we needed for each studio and a company with the innovation required to pivot design plans when needed within a very fast-paced build cycle. We have found exactly that in Brightline.”
Lighting Complement at Seacrest Studios:
Brightline SeriesONE L1.2 LED Studio Fixture: https://brightlines.com/product/seriesone-l1-2-led-studio-fixture/
Brightline Flex-T In-Ceiling Architectural Lights: https://brightlines.com/architectural/
About the Ryan Seacrest Foundation
The Ryan Seacrest Foundation (RSF) is a non-profit dedicated to inspiring pediatric patients through entertainment and education-focused initiatives. RSF’s primary initiative is to build broadcast media centers — Seacrest Studios — within pediatric hospitals for patients to explore the creative realms of radio, television and new media. Founded in 2009, RSF currently has Seacrest Studios at hospitals in Atlanta, Boston, Charlotte, Cincinnati, Dallas, Denver, Orange County, Philadelphia, Washington D.C, Nashville, Orlando, Memphis, Queens and Salt Lake City. Two new studios are scheduled to open in the next 24 months; Miami this year and New Orleans next year, visit www.ryanseacrestfoundation.org.
About Brightline Lighting
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.
# # #
Follow Brightline:
LinkedIn: https://www.linkedin.com/company/brightline-l-p-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
YouTube: https://www.youtube.com/@BrightlineLighting
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
From US Lighting Trends: Brightline Illuminates Nebraska Public Media’s Studio Transformation
Nebraska Public Media’s Ron Hull Studio has undergone a major transformation, highlighted by a state-of-the-art lighting and rigging overhaul. The shift to advanced LED technology has significantly improved the studio’s energy efficiency, flexibility, and production quality. Moving away from the outdated dimmer-per-circuit system, the new network driver system allows precise control over light intensity, color, and beam angle, providing unmatched creative possibilities for producers and lighting designers. Brightline LED fixtures, including the Series One L1.4 and L1.2, Mako and Minnow profile spotlights, and Lupo Fresnels, have played a crucial role in modernizing the studio’s visual capabilities.This comprehensive lighting upgrade ensures that Nebraska Public Media can meet the demands of today’s production while embracing sustainable practices. The flexibility to place fixtures anywhere in the studio and adjust settings with precision allows for diverse lighting effects tailored to each production’s unique needs. The new system not only enhances the visual impact but also prepares the studio for years of innovative content creation.
Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems
100’ x 60’ Studio Transformed with Full Complement of LED Fixtures from Brightline Lighting
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 Ron Hull Studio 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)
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.
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-/
Facebook: https://www.facebook.com/onthebrightline
Twitter: https://twitter.com/myBrightline
Instagram: https://www.instagram.com/brightlinelp/
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, emph