Last Friday I took my class on a visit to a fixture manufacturer’s showroom. The visit was pretty successful, but I had one issue with the information that was presented. This manufacturer’s rep presented their CRI 80 and CRI 90 products by saying that CRI 80 dulls colors and CRI 90 makes colors “pop”. I can’t blame him too much, after all it’s a common misconception that higher CRI is “better.” However, it’s not true so let’s take a look.
Studio T+L's Jason Livingston will be presenting Understanding and Applying TM-30 to the New Jersey section of the IES on Tuesday, March 19th. If you're interested in attending you can register at http://www.iesofnj.org/TM3015.html.
A couple of weeks ago the Global Lighting Association (GLA) published Application of CIE 13.3-1995 with Associated CRI-based Color Rendition Properties. It proposes TM-30 like metrics to supplement CRI Ra. Specifically, it proposes a color gamut index, Ga, that is similar to TM-30’s Rg and a set of chroma indices, Ci, similar to TM-30’s Rch,hj. At first glance I can see some specifiers getting excited about this. Since it’s based on CRI it’s already somewhat familiar so it should be easier to learn. But…
This week I'll be focusing and setting light levels in a corporate board room. The photo below shows the installation and testing of a cove illuminated with RGBW LED fixtures. The second photo shows the installation of a hard dropped ceiling with downlights surrounding a luminous ceiling.
Let's talk about stage floors for a moment because they don't always get the attention they deserve. The floor of the stage serves two important purposes: it's the working surface for performers and it's the attachment surface to brace or lock down scenery. These functions have very different requirements, but both have to be worked into the floor design. Here's why.