Auto Dealerships Save Energy With LED Parking Garage Retrofits

Albuquerque, New Mexico. December 14, 2010—Qnuru™, the premier provider of energy-efficient digital lighting solutions, today announced that it has upgraded 70 1000-watt metal halide exterior lights at Nalley Lexus of Roswell, GA with its 144 watt Vector™ LED bulbs.  Installed in October 2010, Qnuru’s LED retrofit has reduced the dealership’s exterior-lighting expenses by 86.6% while increasing its lumen output by 19% compared to their metal halide predecessors.  Nalley Lexus of Roswell is part of Asbury Automotive Group, Inc. (NYSE: ABG; www.asburyauto.com), one of the largest automotive retail and service companies in the U.S. 

“Auto dealers want to focus on satisfying customers, not worrying about burned-out light bulbs,” said George Karolis, vice president of corporate development and real estate at Asbury Automotive Group.  “I believe every automotive dealer confronts the same set of challenges with their lighting infrastructure—it consumes too much electricity, the bulbs burn out frequently and the quality of the light is poor given the amount of energy used.

Qnuru retrofitted Nalley Lexus of Roswell’s exterior pole-mounted parking lot lights with its 144 watt Vector Pecos bulb.  Designed to replace energy intensive 750-1000 watt high intensity discharge lamps, the Pecos bulb offers an even photometric footprint, daylight-quality light (CRI of 74.8) and instant on capabilities.  The Pecos bulbs are based on high bin Cree LEDS (Nasdaq: CREE) which have a rated life of 50,000 hours and come with Qnuru’s 5-year warranty, independent LM79 verification, and are ETL-Classified in the U.S. and Canada.

“Auto dealers are important business beacons within their communities,” said Rhonda Dibachi, President and CEO of Qnuru.  “Nalley Lexus of Roswell’s adoption of energy-efficient LED technology is a great illustration of leadership by example.  LED lighting solutions help businesses lower their carbon footprint as well as reduce their operating costs.  In a world filled with difficult tradeoffs, LED lighting is a rare win-win for both the environment and business owners.”

LED Lighting Increasingly Used for Film and Video Production

Illuminating Choices

By Christine Bunish

Republished from Markee 2.0 Magazine

New lighting fixtures continually come on the market offering shooters and lighting designers new creative options and greater efficiencies. But adding these revolutionary or evolutionary new products to their lighting kits doesn't mean discounting the instruments they've come to depend on job after job. A noted tabletop director, a leading advocate of HDSLR video, a distinguished underwater cinematographer and an in-demand lighting designer share the contents of their lighting kits today.

For tabletop commercial director Tom Ryan, with Dallas-based Directorz (www.directorz.net), there are no formulas for lighting food spots. "It's all about appetite appeal," he says. "I try to give every client I work with their own look."Ryan primarily shoots film, although he has switched to the Phantom camera for high-speed photography, and uses a tight-grain slow film stock that demands "a certain amount of wattage" from his lighting package. He typically uses Mole-Richardson tungsten 20K, 10K and 5K fixtures for interiors and HMIs for exteriors supplemented with focusable spot sources, lekos and dedo kits.

Ryan has experimented a bit with LEDs "but for the amount of light we use, they're not always practical," he points out. "The beauty of LEDs is that they don't take a lot of power, they don't put out a lot of heat and they're great on location."Ryan's tried-and-true lighting approach with conventional fixtures gives him a lot of latitude to create the different looks and moods his spot clients require.

In Taco Bell's "Cantina Tacos" with lime commercial, "conceptually the lime was a character and we wanted it to really pop," he explains. Ryan shot the tacos bursting with filling, their shiny aluminum foil and a drop of juice clinging to a luscious lime wedge, with a pair of ARRI 35mm cameras. The exterior patio was lit with HMIs; for "ultra-macro" shots of the food he blacked out daylight and went back to tungsten sources.

Ryan's stylish "Whole Meals" spot for Whole Foods was "influenced by old-school Irving Penn photos with clean white backgrounds," he notes. "The challenge was not to let the background overpower what I was shooting" — simple, fresh ingredients, white table linens, butcher paper and brown bags. "It would have been easy to wash out what the focal point of the pictures should be, and if you went too much the other way things would have become muddy and gray. So it was pretty critical to keep the balances consistent." Ryan took light-meter readings of the backgrounds and foregrounds and aimed for 2.5 stops difference; once that was established he kept the balance consistent across the board with his usual complement of tungsten fixtures.

He even kept the white-on-white place settings "in the same range as if they were ingredients" making "some creative decisions" as he went along about how much fill to add to separate the tone on tone.Taco Cabana's evocative spot showing Lenore Segura in her kitchen assembling the ingredients for a brisket taco features "Rembrandt-style" lighting that "lets the shadows go and the highlights be simple and single source," says Ryan. "Where there were shadows on her we let them go dark, but we softly illuminated the walls behind her so the highlights separate the shadow." Ryan initially lit the spot with overhead Kino Flo sources then "backed away and decided it needed a more painterly feel," and turned instead to his trusty tungstens. 

Slow liquid pours are part of a tabletop director's repertoire and Ryan's "Once a Day" spot for the Florida Department of Citrus showcases the appeal of a simple glass of orange juice against white limbo. Ryan shot the entire spot with a Phantom using a lighting scheme similar to what he would have used with a Photosonics high-speed film camera.

"It took a lot of light — 20Ks with dimmers," he recalls. "With the white background we needed twice as much light on the background as on the juice. When I'm shooting video I'd rather shoot it a bit wider aperture so you get a bit of fall off for a more filmic look." A broad source gave shape and highlights to the slow pours that wash up against the glass like waves in extreme close ups. Delicious!

To read the full; article please visit Markee 2.0 website

http://www.markeemag.com/article/detail.php?RecordID=160

Saint Patrick's Episcopal Church Upgrades to LED Lighting in Retrofit Project

Redbird LED, an Atlanta, GA. firm that specializes in the design, manufacturing and distribution of energy efficient LED linear lighting, recently completed an energy efficient lighting retrofit project for Saint Patrick’s Episcopal Church. Founded in 1966, Saint Patrick’s Episcopal Church is located in the prestigious Atlanta suburb of Dunwoody, Georgia. The church contacted Redbird LED to explore ways they could both reduce energy and facility maintenance costs and lower their environmental impact at the same time.

Redbird LED worked with Saint Patrick’s to design a retrofit program targeting the older less energy efficient lighting in the church sanctuary and religious offices. Older 40 watt fluorescent tubes were replaced with more energy efficient 18 watt LED linear lights and the 150 watt incandescent spot light lamps were replaced by Dim-able 18 watt LED par lights. These were designed to be a direct screw-in replacement with excellent compatibility to the installed lamp dimming system.

 The lighting retrofit will provide more than $5,000 per year in savings from the direct drop in electrical consumption, with additional savings from smaller air conditioning requirements due to the reduction in heat loads. Almost as important was the reduction in lighting maintenance time to replace the lamps. The LED lights have a lamp life of 50,000 hours eliminating the need for replacement for the next twelve years. This was very attractive because many of the lamps, such as those in the sanctuary, require scaffolding to service because they are more than 35 feet above the floor.

For more information please visit www.redbirdled.com