NAB Show NY: Cineo Lighting Will Demonstrate Standard 410

NEW YORK—Cineo Lighting willshowcase theStandard 410 at NAB Show New York, which rounds out the range of Cineo fixtures that provide high-quality, easily controllable light. The S410 sets a new standard for motion picture, television and episodic lighting within an under-27-pounds compact design.

With a 1×2-foot diffused illuminating surface, this new fixture is suitable for lighting talent, sets and creating saturated color effects. The S410 harnesses Cineo’s phosphor-based, tunable white light in combination with a full-gamut RGB lighting system to provide different lighting options. The four-channel interface provides control locally, using the system’s graphical control panel, through traditional wired DMX or with the Integrated LumenRadio CRMX bidirectional wireless DMX/RDM control.

Other features include photo-accurate dimming, variable CCT from 2700K to 6500K, and an RGB/CMY color system that provides variable saturation without degradation of the white light quality. The S410 features flick-free operation and a passive cooling system to ensure noise will not disrupt a shoot. The Cineo S410 will be available to customers beginning Q4 2017. READ MORE HERE…

Cineo Lighting Returns For Last Man On Earth Season 4

NEW YORK, SEPTEMBER 26, 2017 – When 20th Century Fox Television’s breakout success,Last Man on Earth, debuted in 2015, there was a unique need to create sets that authentically depict a post-apocalyptic world in which electricity was nonexistent and the sun was the only source of perceived illumination. Production Designer Bruce Robert and Chief Lighting Technician Oliver Alling found the ideal solution of a balanced, natural-looking spectrum and excellent green screen compatibility with Cineo Lighting fixtures.

The Cineo Quantum 120 fixtures are an invaluable workhorse on set. They allow Robert and Alling to repeatedly dial in stronger colors to enhance the natural lighting they’re looking for when shooting against a 360° green screen. This technique is used to create the abandoned neighborhood backdrop that is prevalent throughout the show. As the world’s brightest soft light at 75,000 lumens and with multiple color temperature presets variable from 2700K-6000K, lighting technicians can dial in the desired output to consistently recreate the specific lighting needs. This transforms the fictional disaster-scape into a seemingly real-life, end-of-world scenario. READ MORE HERE…

Cineo Qc80 to Shine at TAB 2017


AUSTIN, TX, JULY 27, 2017 – At the Texas Association of Broadcasters (TAB) 2017 (Booth 16), Cineo Lighting, a leader in the production of lighting systems for the motion picture, television and photography industries, will display its Quantum c80 (Qc80) full-gamut color lighting fixture. The Qc80 features 50,000 lumens of Cineo’s proprietary color-tunable white light, and also includes a full RGB gamut, which works in conjunction with white light as a complete, creative lighting toolkit.
“The Qc80 was designed as the ultimate creative lighting fixture and has become a broadcast industry favorite for top-rated programs,” says Rich Pierceall, CEO, Cineo Lighting. “Following its Best of Show recognition at the 2017 NAB conference, we look forward to showcasing the Qc80’s award-winning white light quality and innovative saturated color technology at this intimate, yet influential event.” READ MORE HERE…

CineGear Expo 2017

At the 21st annual Cine Gear Expo, vendors from across the globe joined Cineo Lighting to show off the best in the technology, entertainment, and media industry. The 4-day event is the premier tradeshow of its kind, attracting 16,000 professionals from over 60 countries to the historic Paramount Pictures lot in Hollywood, California.  

For the fifth year in a row, Cineo Lighting is proud to have been a part of this industry exhibition. The event is always a favorite, providing a unique opportunity for professionals to come together and exchange ideas in an environment that is nothing short of a party.

This year’s event was particularly important for Cineo Lighting. In addition to showing off their new Quantum c80, Cineo announced a product partnership with NBCUniversal to create the LightBlade, a brand new LED production lighting system.

The debut of this fresh collaborative product was a highlight of the Cine Gear Expo. The NBCUniversal booth was a major attraction, drawing thousands of interested spectators to witness the lighting capabilities of the LightBlade.

Using Cineo Lighting’s proprietary LED technology, the LightBlade is able to produce and replicate outstanding saturated color and reference-quality variable white light from 2700K to 6500K. 

At the Cine Gear Expo, The NBCUniversal booth featured three different LightBlade configurations: The LightBlade stand-alone linear source, the LB1K, an integrated 4′ x 4′ soft source, and the LightBlade Ladder Light, a fixture that maintains continuity with NBCUniversal’s traditional backdrop lighting system. 

In addition to the LightBlade, the Cineo Qc80 was a star by its own accord. The large, yet lightweight 2′ x 4′ surface attracted a large number of admirers to the Cineo booth with its 50,000 lumens of full-gamut light.  

The Qc80 provides the unique ability  to independently control the dimming curve, white light, colored light, and saturation with the convenience of a four-dial system. The popularity of this fixture is undeniable, as there was nearly always an industry pro tinkering with the knobs throughout the entire 2-day expo. 

Not to be outdone by their much larger LED counterpart, the MavX and HSX held their own next to the Qc80. The smaller, more mobile size, combined with the ability to fine tune AND consistently replicate the output make these flagship products invaluable resources on the set or out in the field.  

Building upon Cineo’s years of experience in Remote Phosphor Technology, the Maverick and the HS2 Wave attracted their own fair share of admirers at the Cine Gear Expo. These fixtures deliver the unrivaled brightness, extremely accurate color-quality, and the control that hundreds of cinematographers, gaffers, and lighting designers rely on daily. The constant flow of industry professionals who mentioned using these units on various projects was a testament to the popularity and convenience of these fixtures.

From the small Matchstix to the substantial 4′ x 4′ Quantum 120, Cineo Lighting is always able to hold its own among the major players in the studio lighting industry. This 4-day event is a chance for Cineo Lighting to show that a small company can have a large impact on the direction of the industry as a whole. 

There is no question why the Cine Gear Expo is considered the go-to event of the year for professionals engaged in the technology, entertainment and media industry. The latest cinematic advancements combined with the undeniable party atmosphere makes this annual trade show a can’t-miss affair. 

Premiering NBCUniversal LightBlade

Universal City, California, May 31, 2017 – NBCUniversal announces the latest innovation in LED production lighting, NBCUniversal LightBlade ( In partnership with Cineo Lighting, this new line of high performance lighting combines NBCUniversal’s decades of production and broadcast experience with Cineo’s award-winning proprietary technologies. These new products will debut at Cine Gear Expo in Stage 14, Booth # S126.

“Advancements in LED technology are allowing greater capabilities in production lighting, and we’re excited to be at the forefront of that movement,” said Jamie Crosbie, Vice President of Studio Services at NBCUniversal. “NBCUniversal LightBlade LED production lighting provides outstanding color, along with the ability to have each NBCUniversal LightBlade individually DMX controlled.”

“From its inception, Cineo’s charter has been advancing the art of motion picture, television and broadcast production through application of innovative lighting technologies,” said Rich Pierceall, CEO of Cineo Lighting. “Working with NBCUniversal to achieve this goal is both an honor and great opportunity to actively integrate lighting into the production process.”

At Cine Gear, three different NBCUniversal LightBlade configurations will be on display: the LB50 stand- alone linear source, the LB1K, an integrated 4’ x 4’ soft source, and the LightBlade Ladder Light, which continues the familiar form factors of NBCUniversal’s backdrop lighting system. The lightweight 1.5” x 48”, 50 watt light engines are designed to operate in a variety of physical layouts, including stand-alone operation. NBCUniversal LightBlade products are versatile, lightweight, silent and flicker-free, and built to endure the wear and tear of staging and production.

NBCUniversal LightBlade products feature reference-quality variable white light from 2700K to 6500K. They have superior color rendering with typical CRI>90, R9>95, and a saturated color engine that works creatively with high-CRI white light. Additional products are being developed for use on location and on stage.

About NBCUniversal LightBlade

NBCUniversal LightBlade is a unit of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks, and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

About Cineo Lighting

Cineo Lighting, LLC, was founded to produce the highest quality lighting systems available for the motion picture, television, and photography industries. By pioneering cutting-edge technologies, Cineo creates high-output, compact light sources for image capture, in all power ranges, which exceed the capabilities of traditional lighting tools. For more information, please visit

Worldstage Lighting Expands Their Cineo Product Line

NEW YORK, MAY 9, 2017 Cineo Lighting, a leader in the production of lighting systems for the motion picture, television and photography industries, has announced that WorldStage Lighting, a division of full-service video, audio and lighting provider WorldStage, has expanded its inventory of Cineo Lighting equipment with HSX® and new MavX™ units.

WorldStage, whose primary markets are broadcast, live events and corporate events, supports the lighting needs of several NBC programs, including The Today Show, The Tonight Show, Late Night with Seth Myers, MSNBC and SNL. The company also rents and sells Cineo Lighting equipment to MTV, The Daily Show on Comedy Central, Amazon TV productions, Cake Boss, Doctor Oz and others.

The Tonight Show has been one of the biggest fans of Cineo Lighting according to WorldStage, renting the HSX compact fixtures for use in outdoor remote operations from 30 Rockefeller Plaza. The HSX units feature 25,000 lumen output, as well as the same color rendering and extended deep-red spectrum as Cineo’s Remote Phosphor Technology (RPT) fixtures.

“Our rental and sales customers love Cineo products because nothing else out there delivers the same quality of brightness and even a field as Cineo,” says Derek Abbott project manager for WorldStage. “The quality is what people have been responding to and we agree. We’ve always enjoyed the Cineo products. The variable color temperature of the HSX and the MavX make them the perfect LED panels for us.”

Abbott says the ease with which color temperature and brightness can be achieved with the new products cannot be understated. With the ease of use and versatility of the products, along with the actual range of color temperature and brightness, the HSX and MavX fixtures are ideal additions to WorldStage’s offerings.

“WorldStage expanding its inventory of Cineo lighting products is a win-win,” says Rich Pierceall, CEO, Cineo Lighting. “This is a mutually beneficial relationship that presents long-term benefits for both parties involved. We are ecstatic to continue seeing all the applications where WorldStage utilizes HSX and MavX fixtures.”

WorldStage just took delivery of its first MavX units, a color-tunable mid-power soft light built on the award-winning Cineo Maverick™ line. MavX provides all the color rendering and output benefits of RPT, while offering the ability to dynamically color tune from 2700K to 6500K, with accurate presets at 3200K, 4300K and 5600K.

“The customer service from Cineo Lighting has been spectacular,” adds Abbott, specifically noting the efforts of Tom Yuhas, sales director — eastern region, Canada, Latin America. “If we have a question, Tom’s always available to provide an answer.”

Also posted in B&C:

Cineo Lighting Winner of ProductionHUB 2017 NAB Awards of Excellence

LAS VEGAS, NV – ProductionHUB, the global network of local freelancers, crew and vendors, announces its selections of the 2017 Awards of Excellence from the NAB (National Association of Broadcasters) Show.

More than six million people rely on ProductionHUB each year for the best in production services, recruitment and staffing. The Awards of Excellence recognizes standouts in technological innovation and practice from the NAB Show Floor, the anchor event of the industry. Recipients of this award blaze the path of technological advancement, demonstrating excellence every step of the way.

“We interview hundreds of exhibitors from trade shows across the country to make sure our users are up to date on the tech and skills needed to succeed on set and in the workforce,” says Steve Rotz, Vice President of ProductionHUB. “Because of this focused view, we are in a unique position to select and spotlight the best of the best from the NAB Show.”

Continue reading the rest of the article here:

Cineo Lights “America’s Got Talent”

LOS ANGELES—“America’s Got Talent,” the acclaimed nationwide talent show that has become a mainstay on NBC, is set to premier its 12th season this year. Cineo Lighting has been with us since the beginning, helping ensure judges, hosts and performers always look their best for the camera.

Featuring unique performers from across the country, the series is a true celebration of creativity and talent, offering a colorful array of singers, dancers, comedians, contortionists, impressionists, jugglers, magicians, ventriloquists and other hopefuls. These acts rely not only on their abilities, but also on the aesthetics of their acts. For this, I need a lighting solution that I know will give me the color temperature I want right out of the box. I can’t have any degradation of field or uneven color output, otherwise I’ll lose precious time adjusting each light during setup. Also, if the lighting isn’t properly adjusted, the post-production team will have to spend time touching up the brightness and evenness of the shot for the viewers at home.

To achieve this, we feature 25 Cineo HS and several HSX fixtures, supplemented by 10 Maverick fixtures with battery attachments, and Cineo Matchstix kits and Matchboxes, which light all the ancillary action not on the stage, including the holding room, interview positions and the Judges Gold Room.

Read the full story here:

LEDs Light the Way at the NAB Show (TVTechnology July 2016)

July 6, 2016

It’s safe to say that this year’s NAB Show gave us an evolution, not revolution in terms of lighting. In fact, while I was off the main floor teaching production workshops for much of the show, the overall consensus seemed to be exactly that … an evolution.

NILA Arina fixture

The big story was and still is LED lighting. The technology just keeps getting better (even though there is still a lot of junky stuff out there), and there were some interesting light fixtures to consider. The trend is definitely moving away from multiple, visible, LED diodes and moving towards creating fixtures that produce a soft, single source of light. This is usually done with diffusion panels.


Pai to Address 2017 NAB Show

TVU Networks Readies IP Video Ecosystem for 2017 NAB Show

Switchcraft Introducing 24GHz Video Patching Solutions at 2017 NAB Show

I am also starting to see more lensed professional LED solutions (creating single source hard light), but I’m still waiting for something that can compete with the quality of light that an HMI can produce. I like what Fiilex, Mole Richardson and Zylight are doing but there’s still something about a K5600 Joker-Bug that LEDs can’t replicate. It might take a technology like plasma (and fixtures like HIVE’s Plasma 1000), to give HMI a run for its money but we’ll have to see how that plays out.

In the meantime, what was on the floor that caught my eye when I did have time to make the rounds?

In terms of LED lighting, one of the most impressive fixtures on display was the current versions of ARRI’s SkyPanels. The color-tunable S-30C and S-60C utilize RGB & A LEDs and along with Firmware 2.0 they can do some pretty impressive things. The one that stood out the most to me was the Rosco/Lee Gel libraries. Now you can dial in specific gels, color corrections, party colors and even emulate a traditional tungsten fixture as it would react if dimmed down. Very cool!

Both BB&S and Cineo are known for their remote phosphor lighting fixtures. I have personally used the BB&S Area 48 and pretty much the entire Cineo line (Matchbox, Maverick, HS and HS2), on many productions. I love the way they produce a wide, soft light source that is color accurate and ideal for today’s high resolution shoots. This year BB&S were featuring their Pipeline fixtures which are tube-based remote phosphor LEDs that I can see being rigged all over sets.

Cineo had a new fixture, the HSX, which is a slight departure for the company. While it shares the form factor and output of their remote phosphor HS units, the HSX is a more traditional LED-based fixture with a separate diffusion panel. It has the same form factor and output as their HS2 but is color tunable.

Another company I’m hearing more about is Photon Beard. They’ve been in the lighting game for a long time and seem very serious about their foray into the LED/Remote Phosphor space, as evidenced by the introduction of their Highlight LED, designed to replicate the functionality of its Highlight Fluorescent luminaires. The lights are designed to throw light from the grid typically 12 to 15 feet to the set or talent and are known for their consistent, predictable behavior, high efficiency, wide range of available sizes and full range of accessories. The LED version features all these attributes and in addition, increase efficiency and remove the need for periodic lamp replacement.

While historically Kino Flo changed the lighting game with their fluorescent fixtures, they have been in the LED game for a long time. The Celeb line was one of the first large-panel, single soft-source LEDs on the market.

Kino Flo Diva Lite LED

They have now expanded their LED offerings considerably with their Diva-Lite LED and Select LEDs. It’s great to see what is arguably the most popular interview light in the world (Diva-Lite), as an LED option.Another company strongly in the LED camp is LitePanels, which has evolved their products over the past couple of years. I am seeing a lot of bi-color Astra lights on set and they have recently released a “soft” version of that light that has a permanent diffusion panel as a part of the light. The Bluetooth option for the Astra lights is also very useful when using multiple fixtures. You can easily control them all with an app.

If you need an LED with huge output, you might want to check out the NILA Arina fixture. I tested it out in the floor and that sucker is bright but only draws 800W. It’s a monster of a light!

I also really like how the Westcott Flex Lights are evolving. Water resistant, flat packable and now available in bi-color units, I use the 1×1 and 1×2 on almost every production. There’s nothing quite like being able to gaff tape a light fixture to a ceiling or a wall.

I like that we are moving away from just stating the CRI values of lights as a rating for quality. It’s great for some fixtures but not for others. TLCI results along with individual R values are oftentimes being published by manufacturers and that’s a good thing.

Having a good Spectrometer nowadays can be very helpful with reading the spectral data of newer lighting technologies. Traditional color meters don’t have the sensors to read them accurately.

Also look for high values in the R9 column when looking at color rendering values. That, along with other 90+ values can contribute a lot to how well skin tones will be rendered.

Speaking of light and color, a recent Kickstarter campaign was successfully funded for a new line of LEDs that are as close to revolutionary as I personally know about this year.

The lights are called SoftPanels LED lights and they have a color meter built in. This basically allows the fixture to color match the environment. I don’t see the lights as a gimmick as the designers have been at this lighting game since professional LEDs have been introduced into the industry. Once they come to market I look forward to taking them for a spin.

Jem Schofield is the founder of “theC47,” an online and offline educational resource focused on teaching the craft of video production and filmmaking. He is a producer, DP, director and educator and also runs The Filmmaker’s Intensive, a program that focuses on teaching the art and science of documentary and narrative filmmaking. For more about Jem and his whereabouts visit


Light Night Conversations: The Late Show with Stephen Colbert (PLSN June 2016)

Light Night Conversations: The LateShow with Stephen Colbert

by Michael S. Eddy
in Lighting for the Camera
Historic TV Facility on Broadway Takes a Modern Lighting Approach

For this month’s Light Night Conversation, the third in PLSN’s series with a focus on late night television talk shows and how they are lit, we chatted with Michael Scricca, LD for The Late Show with Stephen Colbert, and the show’s technical director, Jon Pretnar.

The Ed Sullivan Theater took on a new look when Colbert moved int. Photo by Kris Long.

The Ed Sullivan Theater took on a new look when Colbert moved int. Photo by Kris Long.

Scricca has been the lighting designer for The Late Show with Stephen Colbert on CBS since the show debuted on September 8, 2015, having previously lit the entire run of The Colbert Report on Comedy Central. Shot in the historic Ed Sullivan Theater, located on Broadway in New York City, Scricca was presented with an impressive architectural space to graze with light, but also had to design a television lighting rig that didn’t get in the way of Colbert being able to see and engage with his studio audience. Scricca’s approach has been to bring a very open and clean look using mainly LED technology. 

Read the whole story here: