Scoops, Coops… old school set lighting. Does anyone know what this is?
(click on pictures for larger image)

I recently had to go “old school” and use this coop light lamped with 6 – 1500 watt frosted mogul lamps. (DKX/120/1500W ANSI)

Typically I would use a 6K – space light (double skirt and dot), but because the set walls were at 10’ with 16’ grid height, I needed a solution that could be rigged close to the grid. After a brief discussion with the DP, I suggested the coops light. The DP smiled and said “wow…that’s old school” let’s do it. I only knew of one rental house in Boston that still had coops. (

I really needed 3 coop lights, but could only get two. I ended up using two coop lights and 6 scoops. The 6 scoop lights were placed in the middle of the set with a coop light flanking both sides. Both coop fixtures and the scoops were circuited in 3rds. A 12 x 12 silk is rigged beneath the center scoops and an 8 x 8 silk rigged below both coop lights.

To demonstrate the germ killing capabilities of the floor cleaning product (using only tap water) we rigged four 4ft x 4 bank Kino Flo’s off the 12 x 12 silk (hung below the cluster of scoops). The Kinos had black light tubes installed for the UV paste to glow.

Here is a wide shot of the lighting in relationship to the set. The spots of light on the floor are roughed in for 12 x 12 flooring that will be rolled in prior to shooting. 575w Source 4 fixtures with 19˚ lenses are used to backlight the steam and provide a hard cut. The 4 x 8 bead boards in the back are soft backlight to create a large source for the host who is bald. Below is the lighting placement for the large soft bounces.

2K Mole Juniors are used to light the bead board all the way down the line.

A single 2K Mole Junior backlights the white plexi glass panel with the company logo. (Middle of picture facing back toward the set)

Bead board bounces were also used to light up the glass block on both sides of the set. Two baby babies were used through a 3×3 frame of ½ CTB to light the bead board. The glass block was treated with tracing paper directly.

The director takes a look at the monitors while the DP checks the light at 1st position. The one important item that can’t be overlooked when using all of these lighting fixtures is A/C. (We had to get a 30 ton trailer mounted A/C unit delivered to supplement the studio’s A/C unit to keep the talent cool.)

The DP shows the PA where the talent positions are while the AC measures and set focus marks on the lens

After 10 hours of shooting and three floor surfaces later, the two hosts discuss the last take of the day while the AD and Director looks at play back. “That’s a wrap thanks guys” shouts the AD and the wrapping begins.

At the end of the 3rd day it is time to take it all down.