Putting Your Sports Announcers in the Best Light


Sports event remote crews have long fought the challenge of matching light on announce booth talent to the ambient light on the field below. Light on the playing surface during a single event can range from bright sunlight, ducking in and out of clouds, to minimal level artificial light. During daylight hours, without additional light on the talent the result would be either the announcer’s dark silhouettes against a natural looking background, or properly exposed faces against a blooming background. Matching such an ambient-lit background requires flexibility not only in the intensity of light on the talent, but also with lighting source color temperature.
In the past, these remote crews have had to turn to either tungsten or HMI daylight lighting fixtures. Tungsten fixtures, which require a relatively large amount of electrical current for the amount of light produced, also emit light at 3200°K, which requires further light-robbing gelling to color balance against the 5600°K light on the field below. HMI fixtures produce light at greater energy efficiency, and emit light at 5600°K, but require a bulky ballast unit and downtime before they can be re-struck, which can limit how quickly the production can bring the lights back up for another announce on-camera shot. When it comes to dimming, tungsten bulbs exhibit a great deal of color shift as light output is reduced. HMIs exhibit a lessor but still noticeable color shift, and are generally limited to a 50-percent light reduction. Both tungsten and HMI bulbs have a limited lifetime before they begin to exhibit a drift in color temperature output. A booth lighting package with either tungsten or HMI fixtures usually requires dedicated power be run to supply enough current. And finally, both tungsten and HMI lighting sources generate considerable heat in the booth when illuminated.
Unlike its predecessors, LED (light emitting diode) lighting fixtures can be manufactured to produce a consistent color temperature through a 100-percent to zero dimming range. Newly developed fixtures have made possible easily adjustable color temperature output throughout the range from daylight (5600°K) to tungsten (3200°K), with the ability to hold the selected color temperature while dimming. Add to that the low power draw characteristics of LED lights, which allow the entire booth lighting package to run off a 20A wall circuit, no need for downtime between illumination, 50,000 hour bulb life, and the soft, HD-friendly output of LED arrays, and it’s easy to understand why LED fixtures have quickly taken over the lighting chores in announce booth lighting.
Over the past several years, the top broadcast and cable networks worldwide have chosen Litepanels LED fixtures for announce booth lighting at premier sporting events, including World Cup Soccer, NBC and Sky Italia at the recent Winter Olympics, all four American networks for National Football League telecasts, Major League Baseball, NASCAR auto racing, PGA golf and more. Among the reasons Litepanels has become the preferred announce booth lighting provider is the company’s pioneering LED research that has conquered issue of light spectrum limitation in LED bulbs. Many LED bulbs are monochromatic, delivering light of a very narrow spectrum. Early on in Litepanels’ development of its patented LED bulbs, the company developed polychromatic LEDs which provide a much greater spectrum of light in their illumination. This wider spectrum of light is important because it increases the color rendering in a scene, especially in skin tones.
Newly developed Sola LED Fresnel fixtures add another tool to the remote crew’s lighting kit, providing all the advantages of LED lighting to a fixture with the ability to throw light a considerable distance. The classic Fresnel design features focusability, single shadow generation and precise light control through the use of barn doors. Additionally, the dimming and color temperature control of Litepanels fixtures can be remoted via DMX to the video control station in the remote truck. Where previously a video operator would have to talk-in via intercom the light adjustments he needed, this puts control of light levels in his hands, where he can coordinate them with his camera shading to produce an optimal lighting match between announce talent and the outside background.

Tags: iss048 | Sports | event | remote crews | lighting | litepanels | led | tungsten | fresnel | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Live Sports Broadcast Commentator from Glensound at NAB 2017

    Live Sports Broadcast Commentator from Glensound at NAB 2017

  • DALET SportsPack at NAB 2015

    DALET SportsPack at NAB 2015

  • LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

    LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

  • Dejero at IBC 2016

    Dejero at IBC 2016

  • Dalet at NAB 2014

    Dalet at NAB 2014

  • NewTek TriCaster at BVE 2014

    NewTek TriCaster at BVE 2014

  • Glensound on BroadcastShow LIVE at IBC 2013

    Glensound on BroadcastShow LIVE at IBC 2013

  • Primestream on BroadcastShow LIVE at IBC 2013

    Primestream on BroadcastShow LIVE at IBC 2013

  • Stream UK on BroadcastShow LIVE at IBC 2013

    Stream UK on BroadcastShow LIVE at IBC 2013

  • Polecam talk high speed on BroadcastShow LIVE at IBC 2013

    Polecam talk high speed on BroadcastShow LIVE at IBC 2013

  • Dalet at IBC 2013

    Dalet at IBC 2013

  • i-Movix Slow Motion and D-Flicker at IBC 2013

    i-Movix Slow Motion and D-Flicker at IBC 2013

  • ChyronHego Paint at IBC 2013

    ChyronHego Paint at IBC 2013

  • Gearhouse Broadcast on Tour May 2013

    Gearhouse Broadcast on Tour May 2013

  • Quantel Enterprise sQ at NAB 2013

    Quantel Enterprise sQ at NAB 2013

  • TSL Products at BVE 2013

    TSL Products at BVE 2013

  • Sonifex at NAB 2012

    Sonifex at NAB 2012

  • Glensound at NAB 2012

    Glensound at NAB 2012

  • The Vision Charity at BVE North 2011

    The Vision Charity at BVE North 2011

  • Tips and Tricks for Live Webcasting Events

    Tips and Tricks for Live Webcasting Events

  • AVIWEST at IBC 2014

    AVIWEST at IBC 2014

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • Area 48 Color and more from BBS Lighting at IBC 2018

    Area 48 Color and more from BBS Lighting at IBC 2018

  • BBS Lighting Force 7 at NAB 2018

    BBS Lighting Force 7 at NAB 2018

  • DOP Choice Lighting Bracket and Snapbox at IBC 2017

    DOP Choice Lighting Bracket and Snapbox at IBC 2017

  • Hive Lighting at IBC 2015

    Hive Lighting at IBC 2015

  • LSC Lighting at IBC 2015

    LSC Lighting at IBC 2015

  • LCA - Snapgrid lighting control - BVE 2015

    LCA - Snapgrid lighting control - BVE 2015

  • Hive Lighting Wasp Plasma Par at IBC 2014

    Hive Lighting Wasp Plasma Par at IBC 2014

  • Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

    Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Litepanels at NAB 2012

    Litepanels at NAB 2012

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • LiteGear LED LiteMat at IBC 2015

    LiteGear LED LiteMat at IBC 2015

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

    Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Cineo HS2 at IBC 2015

    Cineo HS2 at IBC 2015

  • LiteGear at IBC 2015

    LiteGear at IBC 2015

  • Cineo Matchbox at IBC 2015

    Cineo Matchbox at IBC 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • Photon Beard at IBC2011

    Photon Beard at IBC2011

  • Photon Beard at IBC 2016

    Photon Beard at IBC 2016

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • Photon Beard: Space Light at NAB 2013

    Photon Beard: Space Light at NAB 2013

  • Photon Beard: Square One Light at NAB 2013

    Photon Beard: Square One Light at NAB 2013

  • Jonathan Harrison at BVE North 2012

    Jonathan Harrison at BVE North 2012

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Datavision at BVE 2012

    Datavision at BVE 2012

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • Flaghead Photographic at ProVideo2011

    Flaghead Photographic at ProVideo2011

  • Cirrolite at BVE North 2011

    Cirrolite at BVE North 2011

  • PAG at IBC2011

    PAG at IBC2011

  • IDX at IBC2011

    IDX at IBC2011

  • Litepanels at BVE 2016

    Litepanels at BVE 2016

  • Litepanels at IBC 2012

    Litepanels at IBC 2012

  • Zylight F8 LED Fresnel at NAB 2013

    Zylight F8 LED Fresnel at NAB 2013

  • Dedolight DLED3 shown at IBC 2018

    Dedolight DLED3 shown at IBC 2018

  • Dedolight show the LED Raptor Bicolor at IBC 2018

    Dedolight show the LED Raptor Bicolor at IBC 2018

  • Rotolight Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

    Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

  • Force 7 LED LEKO light from BBS at IBC 2017

    Force 7 LED LEKO light from BBS at IBC 2017

  • Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

    Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

  • PhotonBeard - LED Redhead - at BVE 2015

    PhotonBeard - LED Redhead - at BVE 2015

  • Photon Beard at IBC 2015

    Photon Beard at IBC 2015

  • Zylight at IBC 2015

    Zylight at IBC 2015

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Kino Flo at NAB 2016

    Kino Flo at NAB 2016

  • Dedolight at NAB 2016

    Dedolight at NAB 2016

  • Dedolight at IBC 2015

    Dedolight at IBC 2015

  • Kino Flo Select at IBC 2015

    Kino Flo Select at IBC 2015

  • LCA - Inteca products at BVE 2015

    LCA - Inteca products at BVE 2015

  • Sonifex at BVE 2012

    Sonifex at BVE 2012

  • Pixelution at BVE North 2011

    Pixelution at BVE North 2011

  • Ianiro at BVE North 2011

    Ianiro at BVE North 2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
The Wireless Way to 4k
JP Delport DTC’s AEON group of products have been specifically designed for the 4K market. We encode with the more efficient HEVC algorithm, which means we are taking a 12G signal and compressing it to a bitrate that can be managed over an RF link. So what makes this a leading idea in the 4K revolution?
Tags: iss134 | wireless | 4k | transmission | JP Delport
Contributing Author JP Delport Click to read or download PDF