Understanding long-term value and the true cost of broadcast lighting gear
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As broadcast studios face budget constraints now more than ever, lighting equipment decisions increasingly focus on balancing initial costs against long-term operational expenses. Industry experts note that while budget-conscious choices may appear cost-effective initially, they can lead to increased expenses over time.
“End users are concerned about a combination of high-quality light output and trouble-free performance,” said Glen Harn, president of PrimeTime Lighting Systems. “Too often, studios compromise quality to find a lower-cost solution to their lighting challenges. And too often they end up regretting it.”
The transition to LED technology has altered the cost calculations for studio lighting. LED fixtures now offer measurable reductions in both direct power consumption and auxiliary costs such as air conditioning, according to multiple manufacturers at a recent industry roundtable. Also, new technology such as Power over Ethernet (PoE) lighting gear aims to reduce initial outlays in the grid and infrastructure.
“LED technology has lowered direct and indirect power consumption due to lower heating bills, and has provided lighting designers more control and flexibility than previously imagined,” said Tim S. Kang, principal engineer for imaging applications at Aputure.
Kevin Lu, product manager at Ikan, noted that current LED fixtures operate for “between 25,000 and 50,000 hours, which translates to approximately 10 to 20 years based on typical usage.” This extended lifespan affects replacement cycles and maintenance schedules.
Maintenance costs present a significant factor in equipment decisions. Studios must consider not only the frequency of replacements but also the operational disruptions caused by equipment failures.
“Many studios must replace lights because fans go out and lights just aren’t built to last,” Harn explained. Including mechanical components like cooling fans can create additional maintenance requirements and potential points of failure.
Brian Doran, product specialist for lighting at ARRI, acknowledged the current market pressures.
“Increasingly, end users are telling us that budgets are tight, but of course, live television still demands the most reliable equipment. It’s more important than ever to offer premium quality at a competitive price,” said Doran.
The selection process for studio lighting requires consideration of multiple operational factors.
Paul Flemming, manager of design and engineering at ARRI, outlined the key questions: “What types of content will be produced, how flexible does the overall environment need to be to accommodate, how many technical staff will be operating the studio during productions, and of course, what is the overall budget?”
Energy efficiency continues to affect operational costs.
“Energy efficiency is vital in selecting studio lighting equipment because it reduces electricity costs, aligns with sustainability goals and lowers heat output, decreasing cooling needs,” Lu said.
Modern LED fixtures also offer expanded technical capabilities that can affect long-term utility. Sam Cercone, cofounder of Brightline Lighting, noted that current LED technology provides adjustable color temperature control from 3200K to 5600K, eliminating the need for manual gel corrections that increase labor costs and system complexity.
Warranty coverage and expected lifespan factor are included in total cost calculations. Some manufacturers now offer extended warranties, with PrimeTime Lighting Systems providing a 5-year warranty on their equipment.
“We approach every decision that goes into designing and engineering our lights with the determination that it should be running as good as new twenty years from now,” Harn said.
The integration of new control systems also affects operational efficiency.
“The development of IP-based lighting networks enables smooth integration alongside other AV systems for a more effective studio environment,” Flemming said. “Studio engineers can not only apply the same workflows they are accustomed to from other specializations but also have remote access to all devices for more efficient troubleshooting and maintenance.”
These networked systems allow for remote diagnostics and maintenance, potentially reducing service calls and operational interruptions. Tim S. Kang noted that “Ethernet versions of lighting protocols like sACN have enabled studios to use ethernet networking hardware, instead of DMX cabling, to control their lighting setups.”
As studios evaluate lighting equipment purchases, the calculation extends beyond the initial price tag to include energy consumption, maintenance requirements, operational efficiency and expected lifespan—factors that collectively determine the true cost of ownership.
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Aputure, ARRI, Brian Doran, Brightline, Glen Harn, Ikan, Kevin Lu, Paul Flemming, PrimeTime Lighting, primetime lighting systems, Sam Cercone, Tim Kang
categories
Broadcast Industry News, Broadcast Lighting Design, Featured, Lighting and Lighting Design