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Buyer's Guide: Lights and Reflectors

Picture this--a dark room with a dim bulb suspended on a wire. The suspect sits across a battered desk, cigarette in hand, steely expression on his grim visage. A man in a dark suit paces slowly toward him, the light reflecting from his dark sunglasses.

"Illuminate me," the man in the suit says, leaning forward onto the desk.

The suspect takes a slow drag, exhales, then speaks. "In the first place, you're never going to get good video in here. Never. It's way too dark."

"But. . ."

"But nothing. All you have is this one dim bulb. Aside from that, it's pitch black in here."

The man in the suit frowns. "I swear I saw it this way in a film once. . .."

"Yeah, well, that was a special lighting effect. And besides, it was probably shot on film. In the world of video, good lighting is crucial."

"OK," the man in the suit says. "Enough of the small talk. I want names. Names, you hear me?"

The suspect takes one last drag, puts out the cigarette, then speaks. "Lowel. LTM. Arri. Photoflex. NRG. Smith-Victor. Cool-Lux. And that's just for the lights themselves. Shall I include information on reflectors, diffusers, soft boxes and other kinds of gear?"

The man in the suit smiles. "Oh yes, do continue. We want it all."

Probably the easiest, most convenient and least expensive way to start adding lighting instruments to your collection of video gear is the light kit. In a typical light kit, you'll find a selection of lighting instruments (the lights themselves), bulbs, stands and various accessories.

When shopping for a light kit, there are several factors to consider:

1. BULB TYPE

Videographers can use many different types of bulbs to get good results in their videos. Note that these are designed specifically for use with video cameras, and that not all bulbs will have the characteristics necessary to produce good, consistent, white light.

Incandescent bulbs are the most common. These are similar to the type used in typical household settings; they use a heated filament (usually tungsten) to provide light. When purchasing replacement bulbs for incandescent lights, be sure to buy precisely the correct variety, as not all incandescent bulbs provide the best light for video.

Halogen bulbs have made headway in recent years as a strong and highly efficient way to provide light for video.

Fluorescent bulbs were once thought to be the scourge of the video world, as they produced off-colored light that registered all across the spectrum. (Ever shoot video in a room lit by fluorescents? Notice the greenish-yellow tinge?) Recently, however, fluorescents perfectly balanced for video use have appeared on the market.

Arc lamps (such as HMI) are used at the higher end of the video field; these provide very bright light, last longer than other types of lamps and can be quite costly.

2. STANDS
How sturdy are the stands that come with the kit? How tall are they? How do the various lights attach to the stands?

3. ACCESSORIES
Many light kits come with accessories that help you to direct and manipulate the light.

Barndoors are flaps of metal mounted onto hinges on the sides of a lighting instrument; they can help control the amount of light spilling from the side of the bulb.

Gels are colored pieces of translucent glass or plastic used to control the color of the light. Look for ways to attach gels (accessory mounts) as well as the gels themselves when shopping for a light kit.

Umbrellas are just what they sound like, except in the lighting world, they usually have a reflective surface on the inside to bounce the light back and focus it in a given direction.

Softboxes are large, boxy cloth apparatuses that attach to a light in order to increase the size of the light source, thus making the light softer.

4. ADJUSTABILITY
Many lighting instruments come with a way to focus the light, so you can use them in a variety of situations: spot, flood, key, fill, etc.

5. CARRYING CASE
One of the key features of a light kit is the carrying case that comes with it. When shopping for a kit, check the case for durability and weight. Does it efficiently stow all of the lighting elements in the kit, while providing protection for the delicate bulbs?

Along with the lights themselves, videographers often find that it is necessary to use other means to throw light on a subject. Perhaps the most common of these is the reflector.

Lighting reflectors come in many shapes and sizes. Often, reflectors consist of nothing more than a circular piece of fabric secured to a flexible plastic hoop. One side may be silver in color, to reflect a bright, harsh light, while another may be white or gold, to reflect warmer tones.

Even professional video productions often use homemade or improvised reflectors. They can be as simple as large pieces of wrinkled aluminum foil attached to pieces of cardboard. They can also be made from white sheets, smooth pieces of wood painted white, mirrors, poster board and just about anything else that reflects light in the color and quantity needed for a given situation.

When shopping for a reflector, consider portability and durability. Does it come with its own carrying case? Is it made of sturdy fabric? Is the reflective material likely to come loose as you repeatedly fold it and put it away? Also, consider size; a large reflector is generally easier to use than a small one, as the size of the reflected light is easier to place on the subject. On the other hand, you may have a need for a smaller reflector that's primarily used just for illuminating subjects' faces. A well-stocked video arsenal usually has at least two reflectors to choose from, in order to cover most situations that may arise.