Lighting Buyer's Guide...and there was light.

Randy Hansen
Special 2007

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Happily, today's video producers don't need rotating buildings. An entire lighting studio can now be carried in a case nearly anywhere there's an AC outlet. Careful research into the types of lighting available can make the difference between a good film and a great film.

Before you can make an informed purchase, you must first ask yourself some important questions:

• What do I need it for? General use? Interviews? Product shots? Small subjects? School stage?
• How often will I need it? If you need a light kit daily, then durability should be at the top of your list. If it gets used only sparingly, then you may be able to save some money by purchasing a more lightweight product.
• What's my budget? Ah, the big question! Frequently, general-purpose lights may be more useful than a specific one-task-only light that could eat up more of your scarce dollars.

You may choose to purchase a single light or more than one. If more than one light meets your requirements, be aware that manufacturers build many different kits with a huge assortment of lights, stands, accessories and cases that are custom-built just for your needs.

As in any project, it's best to use the proper tool for the required job. Lights are no different. They are designed and constructed to accomplish certain tasks. A selection of lights could be one or more of the following types of fixtures:

• Flood: Spreads a large area of even light over a wide space. Used for general all-over lighting.
• Spot: Nearly an opposite of the flood, this type of light boasts a highly concentrated "spot" of illumination (what else?) with little to no "spill" of extraneous light.
• Accent: A minor (usually quite small) light used to highlight a specific area, such as the "glow" around the back of the head during an interview.
• Softbox: Usually mounted in a collapsible, fabric "box." The light glows in the center and transmits light through a special diffusion fabric attached to the front of the box, creating a soft, gentle wash of illumination. These are great for flattering shots of your talent.
• Spot/Flood Adjustable: Some general purpose lights can be adjusted from spot to flood and back through means of a knurled knob. When twisted, the bulb's mounting point is moved closer or farther from the reflective back, resulting in the flood or spot effect.

Kits may contain one or several types of lights in each kit. Each of these lights may use different lamps (or bulbs) to illuminate the scene. Some of the more common include:

• Incandescent: Also known as the common light bulb and more than 100 years old, this "old school" technology is still used as a light source. For video, the lights are normally "color corrected" at the factory to better simulate the natural color temperature of sunlight. Usually found in entry-level light kits and a little more cumbersome to use.
• Halogen (or Tungsten Halogen): Brighter and hotter than its cousin, the incandescent lamp. The color temperature of this lamp is naturally closer to sunlight and requires less factory color correction. Burns far hotter and lasts about twice as long as the incandescent lamp. The most common type used by news crews and lower budget video productions.
• Fluorescent: One of the most recent developments in video lighting, fluorescent lights are normally built in groups or "banks" of 2-10 lamps (due to their low "throw" or inability to cast a strong light for a given distance; grouped lights increase the throw). They provide a softer, spread-out light ideal for lighting interviews or objects. Not conveniently portable, they are commonly built into a box-like structure with a reflective backing. This light is typically "cooler" than halogens and incandescent lights in terms of color temperature.

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