by Christina Couch for GETINMEDIA.COM

If you’re having trouble getting a job, ask dad for help. That’s how Oscar Dominguez landed his first post-high school gig.

“There was a little television studio not far from a restaurant that my father ran, a little Mexican place,” Oscar says. “[The studio] guys would stop in from time to time. [My dad] went over and said, ‘Hey, my son’s all right at fixing stuff and he’s relatively clever. Could you guys give him a job?’”

Dominguez started doing odd jobs in the Los Angeles facility, but when one of the studio’s electricians didn’t show up for work, “they handed me a wrench and up the ladder I went,” he says. Oscar quickly became the house electrician, then gaffer before meeting Simon Miles, a lighting designer who would later go on to earn ten Primetime Emmys nominations for shows including Dancing With the Stars and Mr. Show with Bob and David. Miles took Dominguez on as his gaffer until the rookie was ready for jobs of his own.

Twenty-three years later, Oscar Dominguez has a Primetime Emmy for lighting design on The Voice and two additional Emmy nominations. His extensive list of credentials includes lighting work on reality series including The Bachelorette, The Bachelor, and America’s Next Top Model; talk shows like Lopez Tonight and The Tyra Banks Show; game shows ranging from American Gladiators to Are You Smarter Than a 5th Grader? and comedy specials for A-listers like Daniel Tosh and David Cross. He currently splits his time between setting the scene for Shark Tank and creating a new lighting scheme every week for The Voice.

Get In Media: What is your biggest challenge for a series like The Voice?

Oscar Dominguez: Keeping it fresh. We literally have gone through every single season on every single round and no two lighting plots are the same. We’ve redesigned it every time in order to just give it a little bit different feel. The biggest challenge is really coming up with new ideas and coming up with new ways of hanging the rig and coming up new placement or coming up with new fixtures. It’s keeping the environment flexible and reactive.

The live rounds especially are very, very complicated in the sense that we have a lot of acts that we have to get ready for the coming show. In these acts, sometimes we have to utilize set pieces or it’s supposed to feel environmental like you’re in a different space, so the rig needs to be flexible enough to generate this world. I don’t know if you watch the show, but we did one for The Swon Brothers a couple seasons ago where [they sang] “Seven Bridges Road”. They sat around a campfire and so we made the entire space look like you’re outside at night. We actually used real fire right in the middle of the set and they sat around with guitars. That was the light source for the space. Constant change and evolution is the biggest challenge on there.

GIM: How long does it take you to do the lighting design for a single episode?

OD: Really for us the design is in the plan, the actual rounds, and plot of the show. That can take anywhere from two to three weeks to get a good solid ground plan. We have a Monday [live] show and a Tuesday show. We start by dry blocking the acts on Friday. We’ll rehearse throughout the weekend and then we go through our dress on Monday and go live Monday night.

GIM: How intricately are you syncing the lighting to the music?

OD: The song will always lead you, followed by whatever the environment has created. We might have a little barn scene or a pickup truck and a hay bale or outside campfire. It could be any number of different things. Once that idea is brought to us by the performance producers, “They’re on top of an airplane wing and it’s supposed to evoke the feeling that we’re flying at night,” then we’ll listen to the song and the programmer breaks it down. [Lighting director] Dan Boland, who’s amazing at what he does, will start to break down and do the bulk of that then I’ll go through and go, “Yeah, this is great.” Basically we only have enough time to edit at that point because of the volume of work that we have.

[Boland’s] very familiar with my style and things that I really am fond of, so [we] sort of build a framework, if you will, and it can start with a base of color and accents, things of that nature. What that song sort of means visually, we try to translate that part of it. It’s more than saying, “This song has a great backbeat so there should be a pulse going with the bass drum.” That’s only one tiny aspect to the big picture of the song, and also making sure that everyone looks great from potentially anywhere from 12 to 15 different cameras.

GIM: How big is your lighting crew?

OD: It’s really big. In the live rounds, we have 12 follow spot operators, which sounds crazy, but we need to be ready for these people to be anywhere. We have a main programmer on the console, we have a media server operator, and we have a conventional board operator that does all the key [lights], the coaches’ keys, and the other audience elements in the show. We have our lighting director, gaffer, we have best boy, [and] probably another eight to ten guys on the ground. There’s like 30 guys on the show.

GIM: When you are brought on a new show, where does the lighting design process start?

OD: We have great three-dimensional renderings that are generated by our production designer. Typically, I will get the set in 3-D, all in CAD [computer-aided design], in Vectorworks specifically, which is the CAD program that I favor, and I’ll spend some time, hours, sometimes days. I’ll sort of wander through the set and then I start formulating a plan in my head, visualizing where these lights would yield the best results and trying to also be very experimental and different, go against the grain with our style and our approach. I’d love to have 1,000 lights, but be able to use just one well-placed light in order to evoke that emotion. That’s basically where it starts for me.

GIM: How does a show like Shark Tank, where there’s a smaller set and no music, compare to The Voice?

OD: What I love about [Shark Tank] is we can take our time and be very, very detail-oriented in the brush strokes of every light. What’s great is you can take the time to really experiment with color and hues and get this very dark, saturated, serious environment. It’s one of my favorite shows to work on. It’s really wonderful. The producers are great and they allow us a great deal of artistic license to deliver something that we feel looks really, really great and makes everyone happy. I’d say it’s very, very calm in contrast to The Voice, which is a wonderful speeding bullet train of fun.

GIM: What about for projects like The Bachelorette or Wipeout?

OD: I love the fact that the shows are so different. It allows me to be creative in different ways on different shows. I always feel like you should never be afraid to try out a new project in a genre that maybe you’re not familiar with, whether it’s the theater or music, reality. For us, the approach that we’ve always taken since the first season of The Bachelorette is to almost make it a fairy tale, to make this sort of hyper reality, this space with these beautiful jewel tones and shadows and things to make a fantasy world. We get to be very creative in our choice of instruments, placement, and power.

Wipeout is an entirely different animal than the other two. You’re outside at night. There’s water. There’s fire. There are all kinds of inherently dangerous things for lighting. We turn the Wipeout zone into this massive color machine that evokes, and in some cases creates, energy along with all the other contraptions on there.

GIM: You’ve done several reality series [including The Bachelor, Bachelor Pad, Randy Jackson Presents America’s Best Dance Crew, and America’s Next Top Model]. Is there more work for lighting designers in reality series than in traditional scripted series or vice versa?

OD: Not all [reality shows] utilize a lighting designer for the front end. They might have a director of photography who does double duty, will light the show with the gaffer and then be the lead camera operator. Actually, I think there are a limited number of reality shows that utilize a designer in service. More mainstream shows or specials or award shows, that’s where the services of a designer are really utilized.

GIM: You were nominated for an Emmy for The Tyra Banks Show. Is there anything that sticks out in your mind about that project?

OD: What was very challenging was … Tyra, who’s a stunning woman, beautiful, and knows good lighting. You’re not going to fool her. She’s been lit by some of the best people in the world, so she’s going to expect to look good anywhere she goes and she’s going to go anywhere she wants to go and you need to be able to, within reason, deliver that. What I remember [was], “Ok, I think she might run off here and if she does, I’ll put something right here and right here, but maybe she’ll run this way, so I need to put something here, here, here, and here,” and clearly you can’t have a sea of lights. We had to be very, very calculating to where we put stuff. This is one of the most beautiful women in the world and she’s been lit by some of the best people in the business and you cannot get it past her. If the lighting’s not right, she’s going to know. It’s not going to fly. Period.

GIM: You’ve mentioned that you do a lot of research with directors and producers to make sure that your work is capturing what they want. How does that process work for you?

OD: The producer may or may not be able to articulate in words what it is that they’re looking for, so I think that getting good references and really being able to pull out references and say, “You mean like this?” [is important]. Which means if you work in television, guess what? You’ve got to watch some TV. Do a little bit of homework to see what the other guys are up to. Stay informed. I think that being able to get key visual references, whether they might be stills or they might be references to other shows, enable the two parties to have a better understanding of what it is that they’re looking for.

GIM: For a student who’s [looking to become a lighting designer], what technologies would you recommend they really bone up on? Where do you see your industry headed in the next three to four years?

OD: Video mapping, where we utilize media servers to basically tie

into the audience lighting. In order for us to create these dynamic looks that change, we’re actually running pieces of video through the lights and the lights are broadcasting that video out. That marriage of video and light, I think on a large scale in event production, is huge. It’s really, really, really huge.

You could be the best lighting designer on the planet, but if you don’t have a comprehension of how the camera works or how it interprets light or how much light it has or where things will drop off at a certain light level … that is paramount. You can be the best in the world, but if you cannot wrap your head around the medium that you’re shooting on, then you are not performing your due diligence.

From left, Mark Rudge, Illumination Dynamics; Oscar Dominguez, LD for The Voice

Q&A with Oscar Dominguez, LD for The Voice

When I visited Illumination Dynamic’s headquarters facility in San Fernando, CA recently, the company arranged for a meeting with Mark Rudge, who oversees the company’s Automated Lighting division, and Oscar Dominguez, LD for NBC’s The Voice.

Joining Rudge, Dominguez and myself for lunch was Oscar’s assistant Joanne Bissett-Avalos and ID marketing coordinator Alison Rice. In the midst of all of these friends, we did, somehow manage to talk about the business of lighting for TV during the afternoon of French food and Jumbaco references.

Rudge and Dominguez have known each other and worked on a variety of projects together since 1999. “That’s when it started,” Oscar says, “and now it’s pretty much every day — ‘Hey, Hey,’” he says, while making gesture of using phone. I settled in with the group and began firing away at Dominguez for the inside scoop on lighting The Voice. What follows are my questions and Oscar Dominguez’s responses.

PLSN: What are some of the challenges of doing a show like that, with different setups, different segments?

Oscar Dominguez: It’s basically broken down into three components. There are the Blind Auditions, then what they call the Battle Rounds, and then the Live [component]. Basically, the last one-third is all Live, the last five to six weeks. The other shows out there, especially a show like American Idol, all set the bar pretty high, you know, Kieran [Healy] does an amazing job, it’s just a beautiful looking show, so it’s like ‘Okay, we have to at least try and get something within the same caliber,’ and that was quite a big challenge because we didn’t have a whole lot of time. To try and establish a look that was unique and a bit different than everything else than what you were seeing, because you want to try and craft something that’s very individual to the show, and that’s something that the network was looking for, and definitely it’s something that [executive producer] Mark Burnett always looks for — a very crafted, a very unique individual look. We’ve done a lot of shows for him, Are You Smarter than a 5th Grader being one of them, which has a very distinctive look, it’s very different than everything else. So that was the biggest challenge.

On the new season of The Voice, how much will the set change from last year?

Lighting will change a little bit. The Blind Auditions just got a little bit sexier. The production designer took some of the things he didn’t really like as much, modified them, and made them better. The Battle [Round component] is significantly different this time around, it’s much more lighting-heavy than it was before. And we’re still currently in the process of designing the live show; it will be an even more massive set.

I’ve seen the light plot for The Voice. How many automated fixtures do you use in the plot?

Well, it varies from round to round, but I’d say that between Automated and LEDs we were at about 963.

When you begin a plot for a show, what’s the first thing you think about, equipment-wise, as in, “I need 10 of these, 10 of those,” etc.?

Really, my go-to light has always been the VL3000. It’s a great work horse, a really beautiful light. It’s very well-built, very reliable, very robust. I pretty much at least have one 3K in everything I do.

What kinds of LED fixtures do you use on the show?

We run the gamut — Chauvet came out with this really great little batten [COLORdash Batten TRI ]; it’s got eight cells, and they are individually addressable, so all of a sudden you can sort of put a few of them together and you have a very coarse video wall — you can pixel-map. I saw it and I said, ‘This would look really great.’ It’s bright, and it’s very reliable. We’ve had them out on WipeOut, in conditions that I was sure they would be destroyed in, but for some reason they keep working, and I’m not exactly sure why!” (laughs). They are a cool little light. So we have about 120 of those, a bunch of Color Kinetics products, you know like iColor Coves, ColorBlazes, stuff like that.

Do you think LED fixtures will become more and more integrated into television lighting?

I do. I’m not really worried about how much power a fixture uses, I’m more concerned about the quality of light it outputs. And the thing that I really love about LEDs is the velocity of color change. Before you were relying on mechanisms, but the velocity you get from LEDs, the utter instantaneous color changes, and the additive quality of that light is great. That’s what I’m after. I’m not as concerned about saving power, the power will always be there, it’s about performance. And what it does better than other fixtures is change color really really fast.

So as far as using them as key lights?

Oh, that’s a ways off. The quality of light that you can yield, whether it’s an arc source or coming out of a quartz tungsten source — the LEDs are just not quite there…and it’s not quite there in the sensitivity of the CRI; the CRI is just not there yet. And the quality, the feel of that light is just not there — you cannot replicate, or, at least, I haven’t seen an LED that can replicate the beautiful warmth of how a large Fresnel can wrap around a face and just embrace that face. There’s a certain quality to it that it can’t be reproduced. I can be wrong, but I just haven’t seen it. It’s like fire — it’s the best keylight ever. That’s about as organic as you can get. And it’s difficult to match the beauty of a nice candlelight.

We’ve heard many people say they don’t like LEDs on camera because they flicker. Have you seen this?

Yeah, we’ve encountered that quite a bit. Luckily we’ve never had a problem with any of the Color Kinetics products, they’ve always been quite stable. I just hope that they develop something else. We’re at that point where we’re looking at the end of being able to see the individual color sources — we’ve got to go to a homogenized source. That is the future. [When you’re able to see the individual sources,] it’s like Skittles, when you’re looking at the lamp, and it’s just not attractive on camera. I see it happening, as it’s becoming more prevalent; it’s just a matter of time, before you get a nice homogenized source, an RGBW type.

How challenging is it to white-balance everything when you’re working with so many different color temperatures and sources?

Well, what we’ve done is balancing to a slightly higher color temperature, which brings the white point up to where the arc sources are not quite so arc-y and scary. So we get better reproductions of cyans and blues, and you get a broader palette of color. That’s how we sort of cheat that for these cameras, which always seem to be very hyper-blue sensitive, especially with Sonys. Instead of balancing at the typically 3300, we’ll balance to sometimes 4300 or 5000° K if we’re using a lot of arc sources, to get them closer to that white point, so you can see the subtlety, especially in the cool range.

You mentioned pixel mapping. Do you map video to the Chauvet wall?

We do.

What’s your choice of media server?

We use ArKaos and [Green] Hippo [Hippotizer].

Where does your content usually come from? Is it stock content or custom?

Typically it’s stock content, but depending on the show, if they have a particular something that they want, it comes from various houses. They’ll generate some bit of footage, and that’s what they want to see on the screens.

As for your lighting console what do you use?

[MA Lighting] grandMA 2, 100 percent. It’s very cool. I like it because it seems that it’s almost built to military specifications. It’s a tank of a desk. And I have a BMW, and I like German products. So yeah, it’s cool.

Do you do your own programming?

No, we have programmers that we utilize, we use a lot of different people.

Do you use followspots on The Voice?

I do. It varies for each separate part of the show — the Blinds, the Battle, the Live show. It’s like three separate shows. When we did the live show last season we were at 10 followspots, and we’re using [Strong Super Trouper] short throws, and what do we have in the back Mark? [Lycian] M2s. very light.

Tell me what you like about lighting projects like The Voice?

What I have enjoyed is the freedom that we’ve had to craft something that is unique. We’ve been allowed to experiment a bit, with not lighting somebody, or maybe lighting them with just backlighting, or using different colors or blacking everything out, and just using a single light. Producers will sometimes tend to panic a little bit, if they see something that’s a bit too different, but what’s been great about this show is that we’ve been allowed to really sort of push the envelope. NBC has been really, really good about that, they’re a great network to work for. They love it. They like the sort of unique character, and it gives it a bit of rawness, which is different than being too-polished or too over-produced, or too picture-perfect.

When you’re working on a project like this, are lighting looks a collaboration, or what you say goes?

The whole process is a very collaborative thing. We’ll put something together, and not everyone in the booth will like it. They may say this or that, and you compromise. And you say, ‘Well, I did this because of this,’ and they will say whether it’s great or it’s not. But do I wish that whatever I say goes? Sure, that would be great, but that’s not the case. The network needs to be satisfied, and happy with what they see; the production company needs to be happy, and it’d be nice if I’m happy too. And typically I am. (laughs).

Describe your working relationship with Mark Rudge and ID.

I can’t do what I do without ID, and the way that Mark does business. It’s a very symbiotic relationship; it’s very tightly woven, it works like clockwork. What’s great about ID is that I can phone Mark up on Sunday at 3 p.m. and say ‘Hey, I need this,’ and he’s like, ‘Okay, we’ll make it happen.’ He somehow makes it work. And that’s the beauty of it, and that’s what allows us to really deliver.

What are some of the other shows that you have done recently, or are currently working on?

Video Game Awards (VGA), Wipeout, Shark Tank, Fear Factor, 101 Ways to Leave a Game Show, It’s Worth What?

What drew you toward TV lighting as opposed to rock ‘n’ roll, film, or some other genre?

I’m a TV baby, it’s what I do. Multi-camera television is all I’ve done from day one, it’s all I know, it’s what I love. Although all those other genres are beautiful, and I draw inspiration from watching them, TV’s what I do. It’s a very small group of us, we’re sort of like a TV-only crowd — a very, very small crowd of us. There’s not a whole lot of us.

What would you consider your trademark look, something that says, ‘That’s an Oscar design?’

I think, being Latino, I’m sort of into the very heavy use of color. Sometimes I take it a little overboard, but I just love saturation, and I always like to have black in the picture. It’s very important to get light contrast and color contrast. If anything, it’s very dark and saturated.

Now in its fifth season, “The Voice” on NBC has become one of the most watched reality talent competitions worldwide. Throughout the run of the production which features three stages of competition concluding with live performances, the pressure placed on the competitors to showcase their unique talents is rivaled only by the pressure placed on the crew to make sure the show is both technically sound yet exciting to watch. Behind the scenes, Los Angeles based lighting designer Oscar Dominguez and his lighting crew have accomplished all this winning the 2013 Primetime Emmy Award for “Outstanding Lighting Design/Lighting Direction for Variety Series” using a rig that relies heavily on VL3015LT Spot, VL3515 Spot, VLX Wash, VL3500 Wash, VL3000 Spot and VL550 Wash luminaires all supplied by Illumination Dynamics.

“For me, the Vari-Lite luminaires are the backbone to this lighting rig,” began Dominguez. “When you put them in your rig, you know exactly what they are going to do and that they are going to be reliable. If for some reason we were to lose all the other lighting instruments, we would be ok because Vari-Lite luminaires are quality. In a primetime network 2-hour live show, this is extremely important. I need products that I have faith in and that’s Vari-Lite luminaires.”

Previously nominated for his work on the fourth season of “The Voice” as well as his design for “The Tyra Banks Show”, this was the first Emmy win for Dominguez. Having been with “The Voice” since its inaugural season, no two lighting plots have ever been the same, but there have always been two constants; the use of Illumination Dynamics as the Authorized Dealer and the reliance upon Vari-Lite luminaires.

Dominguez explains, “From day one, I have been working with Mark Rudge at Illumination Dynamics and I wouldn’t step onto any project without him next to me. His knowledge and support are second to none and the gear he supplies is always operating at peak performance. While the lighting instruments have changed over the seasons on ‘The Voice’, the backbone of each rig has always been Vari-Lite luminaires.”

At “The Voice” there are three rounds of competition; the blind auditions, the battle rounds, the knockouts, and then the live performances. Since the lighting package does not stay the same during each of the rounds, it is up to Dominguez to reconfigure the plot to best match the needs of each new set-up. For this to work, the lighting instruments have to be both reliable and have multiple feature characteristics which is why Dominguez specified 44 VL3015LT Spot, 12 VL3515 Spot, 48 VLX Wash, 22 VL3500 Wash, 62 VL3000 Spot and 155 VL550 Wash luminaires for his Emmy-winning design.

“The VL3015LT Spot is quite frankly my new favorite light. I have them all throughout the rig and can place them anywhere because the zoom is phenomenal, the output is amazing, and I can do nice, big-beamed, zoomed-out looks with full color. When I first saw it during a demo at Illumination Dynamics, I was speechless. I love how it is big on feature set with the ability to provide a powerful beam with a broad zoom, and rich color, with a gobo effect. No other light can do all this and it’s simply a remarkable lighting tool.”

Using a highly reliable 1500W double-ended short arc lamp to produce over 41,000 lumens of output, the VL3015LT Spot features 10:1 zoom optics, CYM color mixing, variable CTO wheel, two five-position color wheels, three gobo/effects wheels, a beam size iris, and separate dimmer and ultra-fast strobe mechanisms. The zoom range of 6° to 60° allows for use in a multitude of lighting applications.

“We have been using the VL3515 Spots to key light certain areas for the host of the show that may need adjusting at the last minute. We used to do this with conventional lighting, but if the director decides to move a location at the last minute using the VL3515 Spot saves us a ton of time.”

Using the same 1500W double-ended short arc lamp as the VL3015LT, the VL3515 Spot provides up to 27,000 lumens of output and features 6:1 zoom optics, CYM color mixing, variable CTO color temperature correction, a six-position color wheel, two gobo/effects wheels, a shutter and separate dimmer, plus ultra-fast strobe mechanisms. The luminaire also has an added feature of a four-blade shutter mechanism that allows the blades to be operated independently or in unison on two planes for a clear and crisp image.

“The VLX Wash fixtures are all in the main overhead rig behind the header serving as the backbone for that area. What’s interesting about the VLX Wash is that there are a multitude of LED Wash lights on the market, but the VLX Wash has a very unique almost ‘creamy’ quality to it and you can tell that there was true thought behind its design. I will often choose the VLX Wash because I like its violent LED snap, I can strobe it, or I can use it for its nice even wash. With all its various capabilities, it works very well.”

The VLX Wash luminaire incorporates the most attractive benefits of LED lighting technology with the product quality only found in Vari-Lite automated luminaires. The internal beam homogenization system creates rich and smooth color mixing, plus the VLX Wash also allows for operation of all seven light engines as one, or for completely independent control of each. With stunning colors, powerful intensity, a multi-year source life, and low energy consumption, the VLX Wash is a remarkable LED automated luminaire.

“For the VL3500 Wash fixtures, I have them out in the audience and flanking the stage for when I need that big beam of God look. Another of the attributes I like about the VL3500 Wash is the aperture chases which create a very cool look on camera, but I love using it most to bring down the hammer of God”.

With an output that exceeds 70,000 lumens, the VL3500 Wash luminaire features internal zoomable beam optics with either Fresnel or Buxom options, an interchangeable front lens system, and an aperture wheel, while also providing CYM color mixing, variable CTO color temperature correction, dual five-position color wheels, a separate dimmer, and an independent dual blade strobe mechanism. Along with its zoomable optics system, the VARI*BRITE mode allows the luminaire to create a tight column of remarkably intense light.

“The VL3000 Spots are an industry-standard and I use them as my audience workhorse. They are all hanging overhead to pepper the audience with light and color to help us bring the audience into the space and make them part of the show.”

The VL3000 Spot luminaire features CYM color mixing, variable CTO color temperature correction, a six-position color wheel, three gobo/effects wheels, a beam size iris and separate dimmer and ultra-fast strobe mechanisms. With its 20,000 lumens of output and 6:1 zoom optics, the VL3000 Spot is an industry favorite that has set the standard for imagery, beam control, color and brightness in automated spot luminaires.

“And lastly we have the VL550 Wash which is very near and dear to me. For me, this light has reached the pinnacle of perfection in a tungsten wash. It just can’t get any better. In this digitized age, having the ability to crack them open and get that tungsten burn and that crush of color along with the beautiful tungsten fade as the lamp shuts off adds a completely different and beautiful layer to the whole design. For me when I need a warm embrace to just wrap around something onstage, the VL550 Wash is the go-to light and no one has been able to manufacture anything that comes remotely close to it.”

Built on the Emmy Award-winning VL5 Wash, the VL550 Wash uses the patented and innovative DICHRO*TUNE radial color mixing system which employs three sets of 16 radially mounted dichroic blades – magenta, blue, and amber – designed to produce a smooth, full spectrum of color cross-fades. Additionally, the VL550 Wash utilizes 16 radially mounted diffuser planes to control the beam spread and it may be used with six interchangeable lens options, including clear, stipple, 8-row, 10-row, 12-row, and Buxom.

Dominguez concluded, “When designing my rig each season I try to think of it in an esoteric way thinking of the lighting instruments as tools. With all the lights being unique and each having its own distinct look, the one thing I need them all to be is reliable, especially in the live rounds which is paramount. I also need all the lighting tools to have a good quality of light. While we may populate the rig with small LED products to give it an extra ‘sizzle’ when needed, the main structure of the rig is supported almost entirely by our automated lighting package and these lights have to be able to produce a beautiful quality of light which I find best in Vari-Lite luminaires.”