Decent inexpensive softlights for filming

[Stuart91]

I've been tasked with adding some lighting to a makeshift studio space. It's roughly 5m by 4m with a ceiling height around 3m.

 

We have done some brief experiments with some lanterns from my hire stock, but it's clear that theatrical lamps aren't going to suit this task. What I'm thinking about instead is some softlight boxes. A quick Google search throws up plenty of options, ranging from ~£50 to ~£300 for sets of two or three. However I'm not familiar with any of the manufacturers and a bit dubious of relying upon the likes of Amazon reviews.

 

I'd like to mount one of the boxes from the ceiling, so that they can get true 3-point light. This means that some sort of remote control will be crucial, I think I'd prefer a dedicated remote over some of the app-based solutions. (Too many random people using the kit, some of whom think Bluetooth is a dental condition)

 

Has anyone got hands-on experience with models that might do the trick for this?

[Brian]

Fresnels, Bulldog Clips and a pile of Tough Spun (aka Lee 214/215).

 

Or, linear floods bounced off something reflective. Which is what thee are...

[natjones]

I've used some Aladdin LED soft lights recently, which were great, but probably a bit pricey for this. There are soft boxes available that fit onto traditional tungsten lanterns, like Chimera, which I've seen at a good price on https://www.prolightdirect.co.uk

 

But like Brian said, toughspun is great, and I've used LeeLux (Lee 400) in the gel frame to soften up theatre generics for filming.

[timsabre]

If you do use diffuser, you need to get it as far away from the fixture as possible (e.g. clipped to outside of barn doors, or as a separate "flag") to make a large lit surface as that's what makes it "soft". Putting it in the gel frame won't soften it much.

We have been using some of the Amazon cheapy square fold up fabric ones which someone bought in an unguarded moment - I think they were about £100 for a set of 3 with stands. They are a very soft light but not very bright, using a CF bulb which says "135W" on it but it clearly is nothing like 135W. We replaced the bulbs with some 30W LED "corn" lamps which doubled the light output but could probably have bought something better for the combined cost.

Something like that with a decent power LED source (50W+) would be a good cheap option, the stands are a bit flimsy by stage standards but seem to work OK for occasional video use. They are definitely budget quality but depends what you need.

[paulears]

LED panels - my video studio has gone completely to LED now - and despite having loads of theatre kit, the LED stuff is better - LED panels are soft, even and great for NOT creating shadows. Traditionally, video used key (often a Fresnel) fill - a soft light of some kind, and some kind of backlight. I put up some Arri 1K and 650W stuff, plus some tubular soft lights and while at this time of then year the heat would have been nice - the throw in my studio - which is only 6m x 4m in 'people' space made green and blue screen pretty dodgy with shadows spoiling the keying.

I bought some Chinese LED panels and Fresnels - I tried a few because I had to buy more than I needed, and the ones I've got now I rather like and they are pretty sensibly priced. We've got rules on the BR about advertising, but I'll just show you the images for info - two kinds the difference being colour temperature - fixed at 5500K (which is what I have standardised on in the studio, or a variable one that has two sets of LEDs and one set is 5500, and the other 3200K - and a knob lets you go variably from one to the other. The single colour is brighter, because all LEDs are on in the same colour. The small 55W Fresnel is great as a key. I've just bought a 100W Fresnel, based on the Arri shape, with bigger lens, and frankly - it's rubbish. The 55W is brighter on the meter, but the arri shape fits the studio a bit better.

 

 

 

 

TV now if you look at news is so much flat light. Dull, boring stuff - but you can perk it up with some colour, and stuff like that, and that, I can do with the theatre kit.

 

Here is the LED Fresnel I recommend you do NOT buy - I was thinking about selling these but they're very poorly performing - very limited beam adjustment, and not at all bright!

[Stuart91]

If you do use diffuser, you need to get it as far away from the fixture as possible (e.g. clipped to outside of barn doors, or as a separate "flag") to make a large lit surface as that's what makes it "soft". Putting it in the gel frame won't soften it much.

 

Thanks for that explanation, I was about to ask why the diffusion couldn't simply slot into a gel frame like anything else.

 

We have been using some of the Amazon cheapy square fold up fabric ones which someone bought in an unguarded moment - I think they were about £100 for a set of 3 with stands. They are a very soft light but not very bright, using a CF bulb which says "135W" on it but it clearly is nothing like 135W. We replaced the bulbs with some 30W LED "corn" lamps which doubled the light output but could probably have bought something better for the combined cost.

 

Sounds like exactly the kind of blunder that I'm trying to avoid!

 

Part of my wariness comes from some of the very poor specimens I've seen. One customer had some that were so dim you literally couldn't tell when they were turned on. Even though they were probably using them in a much bigger space than they were intended for, it still stands out as a pretty dismal failure.

 

Something like that with a decent power LED source (50W+) would be a good cheap option, the stands are a bit flimsy by stage standards but seem to work OK for occasional video use. They are definitely budget quality but depends what you need.

 

I've got no shortage of older stands that I could probably re-purpose for this task. If the lights themselves are OK then I can sort out the rest.

 

LED panels - my video studio has gone completely to LED now - and despite having loads of theatre kit, the LED stuff is better - LED panels are soft, even and great for NOT creating shadows.

 

This all sounds good. I suspect I'll get an easier "buy-in" from the end users if we're proposing some new kit rather than up-cycling some of my old incandescent stock. (Even though it'd be nice to get rid of some of it!)

 

Is there any sort of remote control for those panels, Paul? (Either wired or wireless)

 

I like the tuneable aspect, some of what's going on is essentially product photography and being able to tweak the colour temp may well save some time in post-processing.

[itiba]

As with anything it depends on the proposed end user. If it's for professional use then they'll be an expectation of Skypanels or Gemini's as a 2x1 soft light rather than some shonky knockoff. A £4000 Skypanel S60 will go out for £150/day

 

I've just seen "some of what's going on is essentially product photography". Photography lighting is completely different and is mainly strobe based (ie for flashes) - https://broncolor.swiss/products

Just to explain that often with fashion or product commercials you'll often have two completely different teams for 'video' and 'photography' lighting using different lights from different companies etc.

Edited January 12, 2021 by itiba

[Stuart91]

As with anything it depends on the proposed end user. If it's for professional use then they'll be an expectation of Skypanels or Gemini's as a 2x1 soft light rather than some shonky knockoff. A £4000 Skypanel S60 will go out for £150/day

 

It's definitely not professionals that I'm catering for here. (Partly proven by the fact they're asking me for advice...)

 

They're not in the Skypanel market, I suspect we're looking at something a step or two up from the cheap dross on eBay/Amazon. Budget is probably hundreds rather than thousands.

 

I've just seen "some of what's going on is essentially product photography". Photography lighting is completely different

 

Good point. I guess part of the problem here is that the space is going to be covering everything. At the moment it's being used for some video calls etc. (which look dire under the old fluorescents) and they're looking at shooting some product demonstration videos as well as taking still images for marketing materials.

 

They won't be as exacting as say, a magazine shoot, but are prepared to invest a little to get their production values up from where they are just now.

[paulears]

Don't be so silly. No small studio will buy Skypanels for startup. It's simply ridiculous and unnecessary for lots of people's use. Like buying really expensive movers can be. The arri's are wonderful bits of kit, but We've jumped a very long way from repurposing kit in a makeshift studio to 6 grand per panel. It's great to spec expensive kit, having that budget is often not so good.

 

Where's the photography reference come from - I didn't see that?

If it's for professional use then they'll be an expectation of Skypanels or Gemini's as a 2x1 soft light rather than some shonky knockoff

 

Who's expectations, exactly? Makeshift studio and 6 grand a light seem poor partners.

 

By the way, professional does NOT have to mean premiere kit, in a premiere space, charging premiere fees - sometimes it's about being cost effective.

[itiba]

Don't be so silly.

 

Yawn

[GaryNattrass]

I just put some LED corn bulbs in my old redhead lights.

 

Ok they are no where near as bright as the 800w tungsten bubble but they are also cooler so you can get them a lot closer to the subject for interviews and be more direct with the lighting.

 

Being a lazy type and for speed I used to just bounce a couple of 800w redheads anyway so with daylight colour temp LED's it is a lot easier.

 

I also got some smaller LED for my old pag lights as modern HD cameras don't need as much light these days and I got a couple of very small LED panels recently as they are good for backlights.

Edited January 12, 2021 by GaryNattrass

[alistermorton]

I suppose you might get away with photographic soft boxes, as the strobe heads often have a modelling light that isn't really very bright but maybe could be given a bit of oomph with a cooler running LED? Might be worth experimenting. Fabric soft boxes have the advantage of being light and easy to move around, even if the larger ones can be a little unwieldy due to their size.

[paulears]

I found one LED cluster that fitted in an old Mole soft light - and it's not too bad at all, but I found another in Blond size, and it's a glow worm!

 

The trouble really is just light levels - a real 1KW Fresnel the other day I had paired with the new 100W (IK equivalent - ha ha) LED Fresnel - waving the meter towards the Tungsten got me over 4000Lux, but the LED managed 1100 at the same distance. That's quite a big difference.

[alistermorton]

I usually work on avout 300W LED to get somewhere close to 1kW halogen so sounds roughly right.

[Andyb]

Hi Stuart,

 

If you are looking for a mid range solution, I can recommend the range of softlights from Strand. They are no where near the price point of Arri or Gemini, but equally a hike more than 3 for £300!

 

They do what they say on the tin with the added peace of mind of support from a known and respected brand.

 

Full disclosure: We (Enlightened) have a selection in hire and can supply you hire and or sale quotes if you are interested. info@enlx.co.uk or 01179727123. https://www.enlx.co.uk/hire/lighting/television-studio

 

Good luck.

Andrew