I’d add in a spotlight mount to bounce light wherever you want it. Very helpful in tight spaces where you don’t have room for stands where you need them.
Good shout! The spotlight mount is a really nice looking piece of equipment. I think for me personally it’d be a job dependent attachment, so it’d probably be something that I’d rent vs buy.
Awesome work Ben! I totally agree this is a great package for corporate videography, and I use many of these fixtures in my work. My favourite tips were getting a smaller softbox for those tight locations (happens often) and using a diffuser over the interview talent. Usually I'm more concerned with blocking overhead light, but diffusing it is a great way to get a free hair-light.
Thanks dude! I really wish I that I had one of the largest flexible LED lights in my kit. They’re so versatile. I find myself diffusing the overhead light rather than completely blocking it out. I find that it feels more natural in the interviews and PTCs that I film. I’ll have to give completely blocking out the overheads a crack on a future project to see how it looks.
@@bseng Agreed, those flexible LED's are incredible for how many ways you can use them compared to a traditional COB. However the Aputure F22's have a noisy ballast which can sometimes be a problem. I like the idea of diffusing overhead light and I think both have their place. As you mentioned keeping the actual overheads looks more natural than light being cut from the talent's hair. Depends on your desired look and priorities.
A solid lighting kit package, I reckon as backup it’s always good to include a black panel for blocking out lights that can’t be switched off (assuming the diffusion panel isn’t enough on its own). I’ve been using an Amaran 200x S recently to light for my wife’s content and podcast setups, combined with the Light Dome Mini and the honeycomb filter (for softer close ups) - it’s been absolutely beautiful and quite a minimal setup! For wider shots I punch it at 100% through a 1/2 diffusion panel, remove the honeycomb and it softens it beautifully.
Thanks dude! Totally agree with the black solid for completely blocking any over head lights. Though not perfect, if I didn’t have a solid on me I think I’d use the shiny cover with black side and pop that over top of the talent. The Amaran lights look really solid, especially if you don’t require them to be battery powered.
I’d add in a spotlight mount to bounce light wherever you want it. Very helpful in tight spaces where you don’t have room for stands where you need them.
Good shout! The spotlight mount is a really nice looking piece of equipment.
I think for me personally it’d be a job dependent attachment, so it’d probably be something that I’d rent vs buy.
Awesome work Ben! I totally agree this is a great package for corporate videography, and I use many of these fixtures in my work. My favourite tips were getting a smaller softbox for those tight locations (happens often) and using a diffuser over the interview talent. Usually I'm more concerned with blocking overhead light, but diffusing it is a great way to get a free hair-light.
Thanks dude!
I really wish I that I had one of the largest flexible LED lights in my kit. They’re so versatile.
I find myself diffusing the overhead light rather than completely blocking it out. I find that it feels more natural in the interviews and PTCs that I film.
I’ll have to give completely blocking out the overheads a crack on a future project to see how it looks.
@@bseng Agreed, those flexible LED's are incredible for how many ways you can use them compared to a traditional COB. However the Aputure F22's have a noisy ballast which can sometimes be a problem.
I like the idea of diffusing overhead light and I think both have their place. As you mentioned keeping the actual overheads looks more natural than light being cut from the talent's hair. Depends on your desired look and priorities.
A solid lighting kit package, I reckon as backup it’s always good to include a black panel for blocking out lights that can’t be switched off (assuming the diffusion panel isn’t enough on its own). I’ve been using an Amaran 200x S recently to light for my wife’s content and podcast setups, combined with the Light Dome Mini and the honeycomb filter (for softer close ups) - it’s been absolutely beautiful and quite a minimal setup! For wider shots I punch it at 100% through a 1/2 diffusion panel, remove the honeycomb and it softens it beautifully.
Thanks dude!
Totally agree with the black solid for completely blocking any over head lights.
Though not perfect, if I didn’t have a solid on me I think I’d use the shiny cover with black side and pop that over top of the talent.
The Amaran lights look really solid, especially if you don’t require them to be battery powered.