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ACQUISITION produce a lot of light from a ﬂat panel at the front of the fixture. This then outputs a beam angle as much as 160 degrees, which can easily oversaturate a space with light. In short, the light beam is too broad and casts far more light than you would wish for a studio-based, television in particular, productions, which tend to focus on one or two characters. Remote phosphor technology has been around for a while, but what makes our Highlight LED approach different is that we’ve taken the best available remote phosphor technology and combined it with a unique way of altering the optics, which makes it a very punchy, full spectrum LED luminaire with excellent CRI and TLCI. The Highlight LEDs relate directly to 2,4,6, and 8 tube ﬂuorescents and all the advantages those offer, but with far more ‘punch’, and without the unnatural tones usually found with many LED fixtures. YouTube Space London wanted, above all else, high quality lighting that was focused and consistent, both of which are particularly crucial aspects for studio productions. And because Highlight LEDs have no moving parts and are passively cooled, they cost far less to run which has the added benefit of lower operating costs and superior ease of use. For example, colour temperatures can be easily changed by simply swapping phosphor panels, which is quick and convenient. Our sister company, Projects Department, also custom-designed and supplied the lighting suspension systems in Studios 1 and 2, which includes a motorised truss solution using an ATC truss and Doughty motor/gearbox hoists. Studio 3 and the common spaces were equipped with a single level lighting grid with integrated power and DMX controls. The lighting control is also custom-designed and includes a touch screen and wireless app solution designed by Eaton/ Zero88 that uses SCD servers to interface with either a touch screen in the studio or, for larger control requirements, by either an FLX in the main control room or a ﬂoating FLX plugged in locally in the studio. YouTube Space London is truly an amazing place and I can’t wait to see what emerges from the studios in which we were so heavily involved. At the very least, I have no doubt that whatever is created is going to look very good indeed. 58 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 118 OCTOBER 2016