Nebraska Public Media’s Iconic Studio Undergoes Major Revamp of Rigging and Lighting Systems

In the heart of the Midwest, nestled within the expansive landscape of Nebraska, lies a broadcast studio that has been a beacon of innovation and creativity since its inception. Built in 1968 and commissioned in 1970, the Ron Hull Studio is a colossal 100 feet by 60 feet space located on the University of Nebraska’s Lincoln campus. Its original rigging plan with 109 motorized lighting battens was an engineering marvel typically found only in major media hubs like Los Angeles and New York City.

Fast forward to today, and the historic Ron Hull Studio has undergone a complete transformation. Its original lighting system, designed for incandescent loads, had been through one revision, but it was clear that a more comprehensive retrofit was necessary to meet the demands of modern production. Nebraska Public Media’s Doug Carlson, former Director of Production Services, and Nancy Finken, Chief Content Officer, recognized that the studio needed a full overhaul. Carlson came back after retirement to help manage the project.

The Importance of Rigging

One of the most significant aspects of the Ron Hull Studio upgrade was the complete revamp of the rigging system. The original setup, while groundbreaking in its time, was in dire need of an upgrade. The new design had to retain the flexibility that made the original studio so versatile while incorporating the latest in rigging technology. One of the country’s top lighting designers, Norman Russell, Principal Consultant and Lighting Group Leader for NV5, served as consultant designer for the project. Russell designed the rigging and lighting systems with design and engineering support by NV5 Senior Lighting Designer Steve Cooper.

“The original rigging system, while a marvel in its time, didn’t fit their current and future needs,” explains Russell. “We created a design that preserved the studio’s incredible flexibility while anticipating the challenges of the next few decades.”

All the lights were taken down, the pipes lowered, and the old motors and rigging systems removed. Rows of package hoists, each about 12 to 14 feet wide, were installed along the studio’s 100-foot length, with three hoists per row, 20 rows. This setup provided ample support for lighting fixtures, scenic elements, and other production equipment, allowing for a wide range of configurations depending on the needs of the production. In total, 60 new hoists were installed.

Lighting Heaven: The Power of LED Technology

While the rigging system forms the bones of the studio, lighting design is crucial in creating the new look. The Ron Hull Studio’s lighting system upgrade marked a significant shift from the old dimmer-per-circuit system to a state-of-the-art network driver system with LED fixtures.

In the new network driver system, each LED fixture is equipped with its own driver – a small electronic device that controls the output of the LED from zero to 100%. A Local Area Network was installed to distribute DMX control signals to all luminaire mounting positions to address drivers.

Lighting designers can now place fixtures wherever they like and adjust settings with precision, dialing in the exact intensity, color, and beam angle required for each shot. This level of control is especially important in a studio like this one, where different productions have their own unique lighting requirements. Lighting designer/director Chris Boyd installed the fixtures and programmed the lighting’s DMX controllers, alongside Lighting Designer Erik Rodgers.

The Ron Hull Studio hosts about a dozen different productions with multiple sets,” explains Boyd. “Some are weekly, some seasonal, but they each have a slightly different look. But each production needs to say Nebraska Public Media while retaining its own character. Now, we have so many fixtures, angles and options for producers. With the new lighting and rigging we’ve employed, they can achieve a wide range of lighting effects that were not possible before.”

Russell echoes that enthusiasm for the revamped studio: “The flexibility starts in the rig with being able to decide where each fixture goes. Each fixture can be located and dialed in precisely to where the user wants it. It’s truly heaven for a lighting designer. There are a variety of different places to hang fixtures and angles for whatever you want. If you can’t create great lighting in this studio, you’re just not trying very hard.”

To ensure that the lighting system met the highest standards, Nebraska Public Media brought in one of the top names in the lighting business: Brightline. The latest Brightline studio LED lighting is in use at high-profile broadcast stations throughout the U.S.

Brightline’s Series One L1.4 and L1.2 LED studio fixtures were key in the new lighting system. Russell describes them as superior “directional soft lights. It’s not at all your typical directional light. They don’t create a real sharp edge. Typically, you put a profile spot on the subject, and boom, you’ve got a big drop shadow. It can be hard to get rid of that edge. But with a soft light with a soft edge like the L1.4 and L1.2’s, you can accomplish a long throw without that hard edge – even with an intense amount of light. Adding an intensifier with a narrow angle, you get a nice, tight field that’s very bright but still has a soft edge. For my money, Brightline provides the best studio lighting for TV available today.”

Brightline Mako and Minnow profile spotlights and Lupo Fresnels are also included in the lighting redesign. “They offer a comprehensive package,” reports Russell. “And all the fixtures are very competitive in terms of cost and performance. Sometimes there could be several luminaires listed on a job. But with all your gear coming from one source, communication is so much simpler. I really appreciate that Brightline has an array of luminaires.”

The studio’s set design was given a major overhaul, thanks to the work of Devlin Design Group (DDG). Known for their innovative and visually striking designs, DDG worked closely with Nebraska Public Media’s producers and Brightline to create a set that could accommodate an exciting range of productions.

Completing the dream team were Doug Anderson, Branch Manager of IES Commercial & Industrial, who provided general contracting support; and key systems integrator/ sub-contractor, Heartland Scenic Studios, for demolition, removal and installation work. 

The lighting updates in the Ron Hull Studio at Nebraska Public Media include:

• Brightline L1.2X variable white with DMX control (6x) 
• Brightline L1.4 variable white with DMX control (57x)
• Mako/2 variable white profile spotlight with DMX control (31x)
• Minnow/2 variable white profile spotlight with DMX control (15x)
• Mako/5 RGBAL profile spotlight with DMX control (10x)
• Lupo 650 DMX variable white Fresnel (8)
• Lupo 1000 DMX variable white Fresnel (33)
• Lupo 2000 DMX variable white Fresnel (4)
• Flex-T1 with DMX control (14x)