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  • mobile lighting setup for interviews

  • Lillian Fidler

    August 25, 2014 at 6:48 pm

    I’m looking for a good, reasonably priced and light weight and mobile setup for conducting interviews. Would LED lights be the best option? Any suggestions are greatly appreciated.

    Best regards,

    Lillian

    Lillian Fidler
    Jillian Productions
    St. John’s, Newfoundland
    Canada

  • Matt Townley

    August 27, 2014 at 3:38 pm

    I’ve been really happy with my F&V K4000 Bi-color LED lights. The 3pc kit is great for simple interview situations. I have Vmount batteries for them and can be completely portable, setup quickly and travels pretty light. Not perfect lights and not quite as nice at the Lite Panels, but a heck of a lot more affordable if you’re looking for “reasonably priced.”

  • Bill Davis

    September 3, 2014 at 9:17 am

    Probably, Lillian.

    They’re the best power to light ratio going.

    The only issue is that arrays of tiny spotlights (which is what LED arrays are) can be hard to control.

    But if you just want to raise subjects out of a general background, they’re fine.

    Make sure you get ones that have a decent CRI (color rendering index) Some of the cheap ones skew into the green spectrum and that can be an issue in mixed lighting environments.

    Enjoy.

    Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

  • Mark Suszko

    September 4, 2014 at 6:46 pm

    I have problems with flicker in an LED PAR can I bought specifically for doing colored light effects without gels. With the external DMX controller or the unit’s built-in controls, from 100 percent full-on down to low, dimmed light levels, I can easily spot a flicker wherever the beam hits a surface, when shooting DVCPro 720 or 1080 at 60, 59.940 or 30 (29.95). I will try using the adjustable “clearscan” type scan rate control to kill it, when I get time to mess around with this, but for now, the flicker is ruining all the scenarios for which I got this light.

  • Lillian Fidler

    October 6, 2014 at 5:27 pm

    I’ve been doing some research and someone did a review on this lighting system… any thoughts?

    https://www.came-tv.com/cametv-high-cri-2-x-1024-led-video-5600k-broadcast-panel-light-p-217.html

    scroll down the page to see the video demonstration and review.

    thanks!

    Lillian Fidler
    Jillian Productions
    St. John’s, Newfoundland
    Canada

  • Lillian Fidler

    October 6, 2014 at 6:50 pm

    I also can get these… any comments? https://www.prophotographygear.com/led-576asvl-studio-video-light-panel-bicolor-dimmable-with-vmount-battery-plate-lcd-touch-screen-p-1009.html

    Lillian Fidler
    Jillian Productions
    St. John’s, Newfoundland
    Canada

  • Rick Wise

    October 6, 2014 at 7:32 pm

    It appears that while the video is for one light with tungsten-daylight adjustment and one locked on daylight, the kit you link is locked on daylight. Also, “high” CRI doesn’t tell us much, nor is there any information about light output. That said, the CAM is probably OK for daylight-balanced interviews, especially if you can white-balance to its output.

    The other light you link seems to be much smaller and cheaper.

    It’s unfortunate that good LEDs are so expensive, but they are. The better ones will last longer and serve you better, but you can’t spend more than you can justify. Or shouldn’t. If see have good reason to expect to get lots of paying work, then you may be justified in taking out a small loan for a better kit. Otherwise, just get what you can afford and make it work.

    As with cameras, lights do not make the movie. The filmmaker does. One can do amazing work with very cheap gear. You can also produce drek with the most expensive gear you can find.

    Rick Wise
    Cinematographer
    MFA/BFA Lighting and Camera Instructor Academy of Art University
    San Francisco Bay Area
    https://www.RickWiseDP.com

  • Bill Davis

    October 7, 2014 at 1:38 am

    [Rick Wise] “As with cameras, lights do not make the movie. The filmmaker does. One can do amazing work with very cheap gear. You can also produce drek with the most expensive gear you can find.”

    Amen to this.

    Lillian,

    Almost all of us started out with barely adequate lights. We learned and moved on when one of two things happend. Either A) we got enough work to buy better gear. Or B) our original “budget” purchases fell apart or stopped working under the often difficult field conditions of video production.

    Both of those are typical paths from budget gear to “professional ” gear.

    So do what you can with what you can afford. The key is to keep lighting, shooting, editing and improving. And as you realize that there are better equipment options – and WHY they’re better, you can move up to them.

    Good luck.

    Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

  • Lillian Fidler

    October 7, 2014 at 1:59 am

    Thank you both for the words of advice. Much appreciated and inspiring :.)

    Lillian Fidler
    Jillian Productions
    St. John’s, Newfoundland
    Canada

  • Bob Cole

    October 14, 2014 at 2:04 am

    Both of those LED lights look a bit small and perhaps underpowered. The larger the source, the softer the light. I’d recommend a KinoFlo Diva 4-light, which allows both tungsten and daylight.

    You may be better off going very simple, if you don’t have a big budget. Or even if you do! Simple can be beautiful. If you can get away with only tungsten, pair a softbox (Chimera “small,” which is quite large) with any old Lowel fixture (eBay!), Tota-light, DP, or Omni. Add a 100/200 watt “Pepper” for a hairlight or side/backlight for separation from the background. Don’t forget some nice C-stands. Cheap! Nice!

    But there is always natural light, if you can get it just right. Some of my most memorable interviews have been shot with light from an open barn door, or backlight with a reflector. Sometimes you can get more relaxed “performances” when you don’t confront your subject with a lot of gear.

    Bob C

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