Types of spotlights for television lighting: the best LED equipment to shoot on TV (Part I)

At Stonex we are specialized in professional lighting for broadcasting and we know how to turn studios and locations where television projects are shot into spaces that offer the best results on camera. This article brings together a selection of the best television lighting fixtures for a perfect shoot.

The best professional lighting equipment for each shoot

The debate between the quality of the results of conventional lamps versus LED lamps has already been largely overcome. Current LED technology allows not only to match the color and temperature performance of incandescence, but also offers strong additional advantages: greater power, lower consumption and costs, reduced heat emission and a wide variety of effects and graphic resources.

Clay Paky continues to innovate with versatile luminaires such as Arolla Profile MP, Aleda B-EYE k15, Mini-B and Midi-B

The Italian brand is committed to the latest technology applied to television lighting that combines the precision of the LED module and the richness of the color palette. That is why among its most complete equipment is the moving head Ring Profile MP with engine 1200W white LED capable of producing 22.000 lumens and a flat, even beam.

The Arolla Profile MP is one of Clay Paky's best LED fixtures.

This is a piece of equipment especially well valued by companies of rental, since it offers several possible applications that allow quick amortization and with a sharp and rich color result. Its native source is 6.000K, so it does not produce a metallic white that limits its application to different shooting needs.

El Ring Profile MP has a zoom of 6,2st to 48,8st with 10:1 ratio and allows homogeneous mixtures without staining thanks to the CMY system and its six color wheel that includes a CRI improvement filter and a linear CTO.

Lighting on television that does not give up the most cutting-edge results.

In addition, it has graphic resources that allow you to create multitude of effects and textures thanks to its six rotating gobos and seven fixed gobos, an animation disk, a four-sided rotating prism and a framing system in four focal planes.

Thanks to its macro channel control, the light beam can be more easily adjusted and modulated, and its 16-blade iris with filters frost soft edge and wash, makes it possible to shape the light according to the needs of the designer.

Another of the great protagonists of the filming is the Clay Paky Mini-B, a compact and lightweight accessory composed of 7×40 W of LEDs with RGB+W technology and color temperature control from 2500 K to 8000 K, which can work as a wash or as a beam depending on the needs of the set.

Clay Paky's Mini-B is very profitable for a TV shoot.

It has an optical system with zoom from 4° to 55° and independent control of the central LED to achieve all kinds of effects, so it has very good performance and consistent color results in camera.

In turn, the wash beam Midi-B de Clay Paky makes it possible with your 19×40 W RGB+W LED light source in the form of three independently controlled rings, a very bright and precise result that reaches 11.400 lumens and 3200K color temperature with wide zoom ranges.

The Clay Paky Midi-B spotlight.

Thanks to its compact and lightweight format, this moving head can be used in different film sets without complications in installation. In addition to the versatility of its ultra-bright wash beam, it offers a 4° to 50° zoom range and 2.500K to 8.000K color temperature.

Another of the star devices for television lighting is the Aleda B-EYE k15, it works as a high performance wash LED and also as beam according to shooting needs, making possible both a uniform beam of light and different vibrant colors for exterior effects, windows, etc.

The Aleda B-EYE k15 from Clay Paky is one of the best LED fixtures.

It has 19 RGB+W LEDs with 40 W and its wash is so versatile that it allows you to close the zoom and create very powerful beams., just as when you open it you can create ambiences and use your effects model with your rotate and their arrays.

ETC bets on the quality on camera of the Source Four LED Series 3 Daylight HD

The leading firm in stage lighting equipment ETC with warranty of up to 10 years in the LED chip has developed very powerful television lighting devices that perfectly meet the needs of designers for the different requirements of a shoot.

It is the case of Source Four LED Series 3 Daylight HD, integrated by Stonex in the Study 2 of À Average Point with a total of 38 units that improve the quality of on-camera lighting without emitting any flick even at high speeds. And it is that for this study, the general white light had to be addressable to concentrate on the set and control the illuminated areas at all times.

Lighting on television adds to the technological transition.

Another success story in installations carried out by Stonex on television has been Studio 13 of RTVE, where thanks to the implementation of the ETC equipment, it has been possible a saving of 10 to 1 compared to the cost of conventional lighting without losing benefits of intense white light.

Among the integrated teams,  25 units of Source Four LED Series 3 with deep network technology, which nuances shades as complex as those of the skin, avoiding post-production touch-ups.

ETC's Source Four LED Series 3s give great results on set.

your matrix daylight HDR offers intense white light and seven-color technology for deeper hues. Furthermore, with the XDLT lenses offers maximum brightness from any position up to 13.000 lumens with reduced light leakage. The other matrix available, Lustr X8 offers a qualitative leap with its eight color technology and almost zero chromatic aberration.

Leading the technological transition, Stonex distributes the most advanced LED luminaires to achieve round results on the screen; This is our selection of the devices that cannot be missing from your set.

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