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  • ETC On-Camera

    ETC On-camera

    Broadcast. Television. Film. Corporate Studio.

    ETC On-camera

    Broadcast. Television. Film. Corporate Studio.

    ETC On-Camera

  • ETC has been designing and manufacturing products for decades for the on-camera market. With a rich history in color perception and the science of and technology behind light, our products give you more color content and control than the competition. Build out your studio with a full package of networking gear, fixtures, and control from ETC.


    Outfit your studio



    Full System Integration

    Studio Full System Integration

    Read what others say about ETC on-camera

    Creative Options




    Creative Options

    “There was no other way we could do this movie. And that’s because thanks to the High End Systems fixtures we could give (Bruno Delbonnel, cinematographer) so many creative options. It really made it easy for everybody.”

    Bold Color

    Bold Color

    “Because CNN is a WarnerMedia brand, the Jolly Rancher-toned red you get out of other panel fixtures was not going to cut it,” says Bernstein. The fact this deep red was available on the fos/4 Fresnel was also key, literally. “Lights seen on camera would do a nice white for key or fill color, then as soon as shot moved, the fixtures would switch to effects colors – red for CNN, or something more jazzy for Adult Swim as eye candy. It had to be fos/4, and they completely delivered.”

    Eye Candy

    Eye Candy

    “Just about every position had either a TurboRay or a SolaPix in its shot. We used them on the floor as low-level eye candy. Wide bump shots showed off the fixtures the best, and both fixtures looked beautiful on camera.”

    Decades of History

    Decades of History

    “The color from ETC’s X8 fixtures is so warm and natural. It’s obvious that their heritage is a tungsten light source.”

    24/7/365 Support

    24/7/365 Support

    “We have 260 days of shooting, with more than three teams per day – almost 1000 days of filming per year. You can’t afford to have a studio at a standstill because of technical problems. Having a quality product and good support, in addition to the fos/4 Panels being covered by ETC’s 24/7/365 technical support are reassuring criteria.”



    Creative Options
    Creative Options

    “There was no other way we could do this movie. And that’s because thanks to the High End Systems fixtures we could give (Bruno Delbonnel, cinematographer) so many creative options. It really made it easy for everybody.”



    Bold Color
    Bold Color

    “Because CNN is a WarnerMedia brand, the Jolly Rancher-toned red you get out of other panel fixtures was not going to cut it,” says Bernstein. The fact this deep red was available on the fos/4 Fresnel was also key, literally. “Lights seen on camera would do a nice white for key or fill color, then as soon as shot moved, the fixtures would switch to effects colors – red for CNN, or something more jazzy for Adult Swim as eye candy. It had to be fos/4, and they completely delivered.”



    Eye Candy
    Eye Candy

    “Just about every position had either a TurboRay or a SolaPix in its shot. We used them on the floor as low-level eye candy. Wide bump shots showed off the fixtures the best, and both fixtures looked beautiful on camera.”



    Decades of History
    Decades of History

    “The color from ETC’s X8 fixtures is so warm and natural. It’s obvious that their heritage is a tungsten light source.”



    24/7/365 Support
    24/7/365 Support

    “We have 260 days of shooting, with more than three teams per day – almost 1000 days of filming per year. You can’t afford to have a studio at a standstill because of technical problems. Having a quality product and good support, in addition to the fos/4 Panels being covered by ETC’s 24/7/365 technical support are reassuring criteria.”





    User Interface
    Behind the Color Science
    SolaFrame Studio

  • X8 Array

    ETC's X8 array

    High-quality color content up front means less time for color correcting post-production.



    When working with cameras, the presence of the deep red emitter rounds out the color spectrum and provides a greater amount of digital lighting content at the time of filming. Full-color control at the time of shooting saves you time and money by reducing the amount of post-production time required. This means less time adjusting colors in post-production but also more control over the manipulation of the color and the rendering if you need it.

    ETC's X8 array

    High-quality color content up front means less time for color correcting post-production.

    X8 Array

    When working with cameras, the presence of the deep red emitter rounds out the color spectrum and provides a greater amount of digital lighting content at the time of filming. Full-color control at the time of shooting saves you time and money by reducing the amount of post-production time required. This means less time adjusting colors in post-production but also more control over the manipulation of the color and the rendering if you need it.