NASHVILLE, Tenn.—Forty years as a DP behind the lens has taught me one thing: not all LED lights are created equal. The broadcast world has been revolutionized by this technology, but sifting through the options has been a challenge.
Navigating the world of LED lighting market requires time and rigorous testing. After a ton of research and side-by-side comparisons, I’ve learned that manufacturers’ claims often differ from the real world we shoot in. All of us scrutinize the minutia of color accuracy, output, and build quality of whatever lighting gear we’re using.
That was particularly important when Cracker Barrel contacted me with an exciting yet demanding project: to design and implement two different lighting setups in their newly renovated studio space in Lebanon, Tennessee. The newly renovated building on their campus needed two sets: a 30-by-30 green screen and a 30-by-30 white cyclorama.
Lighting Two Sets
The project sounded super exciting, but my first on-site visit revealed two significant challenges that immediately demanded creative solutions. First, the studio had a fixed ceiling height of 11 feet, 6 inches and ductwork that was over both sets that imposed limitations on light placement, requiring the right fixtures to avoid compromising the smooth even spread of light for the green screen and white cyc.
Second, as is typical in a corporate environment, a fixed budget was established for the entire project. This meant finding lighting solutions that not only met the technical specs needed for the green screen and white cycloramas but also didn’t break the bank. This project sent me on a journey searching for lighting gear that could keep up with the daily demands of a busy studio.
Earlier in the year, I’d had the chance to demo Lupo’s Super Panel 60 and their Movie Light 300 at Take One Film and Video in Hendersonville, Tenn., and I have to say I was genuinely impressed. What really stood out with the Super Panel 60 was the exceptional color accuracy, especially when it came to flesh tones.
For the Cracker Barrel job, I set up a side-by-side test with two other major brands to see how they compared Lupo’s lights. Without going into great detail I found that Lupo’s Super Panel and Movie Light 300s provided a consistent and exceptional balance of performance and affordability—a true “bang for the buck” scenario.
To be fair, I had similar results with the other brand of lights I’d tested, and honestly, I could’ve used either of them but, when it came down to it, budget was the key factor. After that demo, I was confident I could deliver the quality Cracker Barrel needed, while staying inside the budget.
Dayled Pro 3000
Since wrapping up the Cracker Barrel studio project—a project that truly showcased the capabilities of Lupo’s gear—I’ve made it a point to incorporate their entire lineup into my lighting arsenal. I have to single out the Dayled Pro 3000, though; that light really impressed me with its ability to focus light with the kind of control you’d expect from a classic Fresnel. It’s not just about the intensity; it’s the quality of the beam, the way it sculpts the scene.
Overall, my experience with Lupo and their products has been nothing short of outstanding. It’s more than just the quality of the lights; it’s the peace of mind knowing you have a company that stands behind their products.
Their customer service team has consistently gone above and beyond to assist me, and when I’ve needed technical support, their response time has been remarkably fast. In this industry, where time is money and reliability is paramount, that level of support is invaluable.
More information is available at: https://lupo.it/en
