Camera lights should be used to fill subject faces or, in dark locations, to light them completely. Don't expect to light wide shots. You will indeed increase the overall light level, but the effect will range from drab to downright unpleasant. The trick is to ensure that the subject is not noticeably brighter than the surroundings. To lower intensity you can dim or switch off lamps, depending on your unit, or simply move back from the subject and re-frame the shot at a longer lens setting.

If you have a light offset arm, try to place the light as far to one side as possible and a few inches higher than the camcorder. If you don't have to move (say, when doing a standup segment with a reporter) you can place the light on its own stand, for even better control. Moving the light to the side turns it into a true key light and delivers improved facial modeling.

Indoors, I always prefer diffusion -- the more the better. A softbox cover or spun glass makes the light path wider, more even, and is more flattering to faces. This is also true outdoors at night.

Outside in the daytime, a camcorder light should punch up the subject's face just enough to make it the visual center of interest. I like to use direct sun for rim light and light the face with the camcorder light. Diffusion is less important, and an intense, narrow light beam has a better chance of competing with the daylight. Of course, you'll have a blue filter in place to convert the native 3200K lamp light to daylight color temperature.

A camcorder light is great for reducing the contrast between darker flesh tones and light clothing -- especially blinding white bridal gowns. The answer here is graduated light: brighter for the upper part of the subject and dimmer for the lower. If your unit has barndoors, rotate them to the over/under position. Bring the lower barn door up until the light on the clothing becomes more moderate.

If this doesn't do the job, try adding a graduated scrim. Typically, this is a ring with a sandwich of three layers of metal screening. The top half of the ring is open and the bottom half divides into three layers of single, double, or triple screening. The screen creates a gradual beam falloff from hot to mild when you place it in front of the light with the mesh at the bottom, (You can also use a graduated neutral density filter on the camcorder lens, but that's not in the lighting department.)

But wait, you say; your camcorder already has a light built in. Uh-huh, but it's like using the screwdriver on a Boy Scout knife: sure, of course you can use it, but only if you have to use it because there's nothing more competent available (or, if you're out of available space for bringing your light kit along).

The battery needed to run the camcorder powers built-in lights, and they consume juice like Dracula drinks type O-positive. If you turn the light on for more than a minute or so, you'll shorten battery life dramatically.

Also, built-ins generally won't take accessories, so there's no way to control them. At best, you can try taping some diffusion over their transparent cover. Finally, if you're looking to shoot a high-end project, built-in lights just look amateurish.

On the other hand, when a beloved rug rat stands up to take her first steps and the light is bad, no one expects you to ignore that light on your camcorder. Built-ins -- in fact, all camera lights -- are like Bungee cords: crude and irritating to work with, but absolutely indispensable when you need to use them.

Good Lighting!

Contributing Editor Jim Stinson's book, Video; Digital Communication and Production, is just out in a second, updated edition.