Lighting! Now take note all you lighting professionals, physicists and Einstein geniuses. This video was not made for you. It was made for new video creators and filmmakers to understand what the heck all these light things mean, so they can be smart about shooting footage and where they spend their money on lighting. There are a variety of units
used for luminance. The SI unit
for luminance is candela/square meter (cd/m2). In the U.S. one of the common
units is the foot-lambert (fL); 1 foot-lambert (fL) equals
1/π candela/square foot, or 3.426 cd/m2. Professionals in the industry
will be familiar with the term nit (nt). Nit is a non SI
term used for luminance, and 1 nit is equivalent to 1 cd/m2. LIGHT Light, simply put, is energy you can see with your eyes. COLOR OF LIGHT Not all light is the same. Inside light bulbs, outside sun and moonlight have a different color. Your eyeballs are the coolest thing ever, as they adjust instantly to these different changes. Camera's aren't as cool as eyeballs and don’t adjust instantly to different colors. These different light colors are called their temperature. COLOR TEMPERATURE Some bright dude… (ha, that’s a pun) …named Kelvin, came up with a scale of color temperature so everyone could agree what is what. It’s the aptly named Kelvin scale, or K for short. It says this color of light is going to be this value, and some other color is going to be that value. That way everyone agrees what the heck color of light is what, and we can make cameras and lights that all agree on what the heck is what. So, looking at this light, I have it set to 3200K, and it looks more yellow. Now moving up through the numbers to about 5000K, it looks whiter, like the sun. As I move higher and higher, it looks more like nighttime, a bluer look. Don’t get caught up in the numbers, they’re just numbers someone came up with so we can all be talking about the same thing. The cool thing is we have a measurement so we can tell our camera what the heck is going on. Since lighting is all about what hits your camera, what is filmed, let’s take a moment and look at how a camera thinks, and this will certainly tie into lighting. WHITE BALANCE White balance is all about telling the camera what color temperature the light hitting the camera is. You’re showing the camera how to balance white, so everything looks the way a person’s eyeballs would see them under a certain lighting condition. On most cameras, they have these settings, White Balance settings, so you can tell your camera what white looks like. Remember, the camera is a tool, not a person. You have to tell these tools what they should do, or they do whatever the heck they are set to do. You’re indoors, and the color of these indoor lights is around 3200 Kelvin. That’s a nice warm yellowish color. So we set the camera to TUNGSTEN, which is a fancy name for inside lights, which tells the camera to adjust what it thinks is white, down to 3200K, and all looks normal again. If we leave the camera set at indoor lights, TUNGSTEN, 3200K, and go outside, the COLOR TEMPERATURE has changed from 3200K to sunlight, around 5000K. You told the camera you wanted it to balance, adjust its idea of white, to indoor lights, but now you’re outdoors. Again, the camera is just a tool, and will do exactly what you told it to do, so now you're outside shot looks terrible. We switch the camera to outdoor light, called SUNLIGHT on some cameras, and that adjusts what the camera thinks is white to around 5000K, and everything looks proper again. If we keep the camera at SUNLIGHT, 5000K, and move back indoors, it will look terrible again and be all yellow, as we didn’t instruct the camera what it should use as its basis for white. That’s white balance, and that’s why you should set it for where you are shooting. It’s telling the camera, “We’re shooting in this kind of color light, so I want you to have white sit right about here,” and that’s the Kelvin of color temperature. Go grab your camera, sit inside and set it to different white balance settings and see what it looks like. Now go outside and do the same thing. You learn a lot. AUTO WHITE BALANCE This WHITE BALANCE thing can seem like a pain, so many people set their cameras to AUTO WHITE BALANCE. Now you’re telling the camera to let IT figure out what the white balance is, and it will adjust what it thinks is white to the scene you’re shooting. This might be OK for photography, where you’re snapping an instant picture, but there’s two things wrong with using AUTO WHITE BALANCE. The first, is you’re letting the camera determine what it thinks the white balance should be, and it will do its best, but can also fail, ruining all that time you spent shooting something. Secondly, you’re not shooting a single picture, you’re shooting a 24, 30, 60 pictures every second, which is what moving video is. If the light changes at all, the viewer will notice something is off, as the camera is constantly adjusting what IT thinks is white. If you happen to be shooting indoors, and the outside light is changing from sunny to clouds, the camera will try and adjust the white balance, and now you’ve got awful footage that is nearly impossible to correct unless you color correct it frame by frame. AUTO WHITE BALANCE is OK if you’re shooting outside, or in a controlled environment where NO light is changing. But, even if your body happens to cover up something bright white in your shot, and then back again, it will try and adjust, and you’ve got a mess. I’d rather mistakenly have my white balance set to outdoors, and shoot indoors, having all that yellowish looking footage, than let the camera auto white balance where it’s constantly changing the color of the shot. That’s because I can color correct the yellowish tint out as it’s not changing, whereas if it’s changing all the time, I’ve got a mess on my hands. If you care about how your shots look, remember to set your camera’s white balance, and don’t use auto white balance while filming. CUSTOM WHITE BALANCE If your camera choices are TUNGSTEN, 3200K, INDOORS, or SUNLIGHT, 5500K, OUTDOORS, and you are shooting in lights that are 4000K, the color will be off. This is about lighting, so I’m not going to go into why and how to set a custom white balance for your shots. However, you should look into this, as it allows you to tell your camera EXACTLY what white it should think white is. RECAP (ow!) Let’s recap before we get into lighting. Different light has different color temperatures. The KELVIN or K values are an agreed upon scale for the color temperature of light. Cameras need to be told what the color temperature of the light being filmed is, and we tell it that by indicating what the K value of the light is. We tell the camera what K value our lights are and the cameras balances itself to its idea of white, called WHITE BALANCE. Tracking so far? LIGHTING Again, not all light is the same, nor is all lighting is the same. If you’re looking into lights, you need to know what the differences are, otherwise, you’ll be throwing your money away. WATTS Watts are the amount of power something consumes, not how bright the light is. Although many lights are referred to by their wattage, this is not the true measure of how intense or bright the light is. Watts tell you how much power the light will need and use. It tells you how quickly it will drain the battery, not how much light it produces. For example, LEDs use less wattage than other lights to emit the same amount of brightness, so watts should not be used to tell how bright or good the lights are. LUMINANCE Luminance describes the amount or power of the light perceived by the human eye. In other words, it indicates the brightness of light emitted or reflected off of a surface and how you perceive it. For example, computer monitors use luminance to indicate how bright they are. Don’t get confused by all these terms, as people will talk about luminance, candelas, foot lamberts, spectroradiometers, chroma meter and nits. Screw that. It’s the brightness of the light. Don’t worry. You don’t have to remember all these terms and things, as we’ll eventually point out what you DO look for in lighting, and you won’t get confused by all these other terms. ILLUMINANCE (coughs - joke) Ha! See what I mean? People use LUMINANCE and ILLUMINANCE interchangeably, and they are not the same. Illuminance is the measurement of the amount of light falling onto (illuminating) and spreading over a surface. That’s how humans perceive the brightness of an illuminated area. As a result, most people use the terms illuminance and brightness interchangeably which leads to confusion, as brightness can also be used to describe luminance. Confused? ILLUMINANCE refers to light measurement, while LUMINANCE refers to a light’s brightness. Got it? Good. Now dump them. LUMENS Lumens is a measurement of how much light is emitted. You could say the more lumens, the brighter the light, but that depends on how far the light is away from the object being lit. By the time it hits yours eyes, the moon emits about 1 lumen, a phone light about 20 lumens, a lightbulb roughly 400 lumens, and a car headlight around 1500 lumens. LUX Because we have so many different lights and beam angles and wattages, we need a way to measure and compare the true intensity of a light as seen by our eyes. Remember Mr. Kelvin who came up with a way to standardly measure the color of light so everyone is talking about and measuring the same thing? Same with LUX. A standard was developed so everyone is measuring the same thing when it comes to the brightness of light, so you can compare Mr. Cheap’s crappy light that you want to smash into pieces after using it, wuth Mr. Awesome’s light that you can’t live without. LUX says, “Let’s shine this light on a surface from 1 meter away, and only measure how bright the light is in a one meter area on that surface.” That will give us the measure of how many lumens (the brightness and light output) it gives off, and we can compare that to any other light given the same conditions. So if we have a light source whose total light produced is 1000 lumens, and we focus this onto a surface from 1 meter away, and only measure the light brightness in a one meter area, we would have an illuminance (or brightness) of 1000 lux. Like our kelvin measurement, LUX is only a measurement of how much light is being put out by the light so you can compare one light to another light, otherwise, you’d never have a comparison and never know how bright the lights you want to buy are. As a side note, that’s what a light meter measures – LUX. It helps tell the photographer or filmmaker the optimum settings for the camera exposure, given a certain lighting situation and film speed. NOW YOU CAN COMPARE! (click) Now, when you go to buy lightbulbs, and you're looking for a more powerful light, you might see an 80 watt lightbulb, and right next to it a crappy 13 watt lightbulb. Don’t grab the 80 WATT! Look at package. The 80 watt bulb puts out 500 lumens, and the other 13 watt bulb outputs 830 lumens! Huzzah! Or you’re buying some spiffy new LED lighting, and you see that the LUX specified on one light is a massive 100,000 LUX, and the other is 40,000. WAIT! Read the specs. The specs say the light at 40,000 LUX was measured at ONE METER. The 100,000 LUX light says it was measured at .3 METERS, not even a foot away! The 40,000 lux light is better and brighter than the other! COLOR TEMPERATURE FOR LIGHTING The next factor in lighting is the K or Kelvin value. Remember, kelvin is simply a trusted measurement to tell you what color hue your lights will output. For example, you purchase this neat new light, only to realize later that it doesn’t match your existing lights, as the ones you have are 5500K, and the new spiffy one you paid a $1000 for is 3200K. Doh! Despite the fact that you are now a white balance ninja after applying the earlier sections in this video, you’ve got a new problem in that the camera can’t deal with and balance white, its white balance. The camera is like, “Ahhh…so you want me to think white is like the sun, but also like indoor lightbulbs?” If you’re shooting for an indoor look and have a more yellowish-warmer look to your shot, but you set up a light outside shining in the window so it looks like a sunny day, you could throw a 5000K light out there and you’re jamming. Always look at the K value of the lights you are buying to see if they match what you already have, unless you know what you are doing and want something different as just described, but that’s way beyond the scope of this video. CRI CRI stands for color rendering index, and runs from 0 to 100. This is just another scale made up so we can tell how good the color, the K value, of the light is. Basically, any light with a CRI value over 90 is good, meaning, it’s going to be pretty close to the K value specified. When you go under 90, like 80 or 70, you’re taking your chances. Why is this important? If you have 3 lights in the room, and the color temperature is all over the map for each of them, you’re going to have a heck of a time making your lighting match and setting the proper white balance in your camera. TLCI TLCI Stands for Television Lighting Color Index. It’s the same as CRI, but instead of being based on the human eye, it is based on a more accurate computer measurement system. Again, anything with a TLCI value over 90 is great, and the lower the value, the less you’ll be able to trust the color values of your lights. It goes without saying, when you go cheap, you’re looking at lower values for everything, as that’s how they offer you a savings on the lighting. But in my experience, you always pay for it when you’re dicking around with your footage on the other end with sub-standard equipment, wasting time trying to correct the bad footage or thinking it’s you when in fact it’s the crappy equipment. That goes for cameras, lenses, sound, and lighting. RE-RE-RE-RECAP So, you’re going to comparison shop for some lights, know what to look for, and spend your money wisely. Just make sure to: See that the lumens or lux is what you need. See that the K value of the lights is what you want. Get something with a CRI or TLCI rating is over 90. Now let’s look at other options you need to look for in choosing lights. TRADITIONAL LIGHTING I won’t go into these lights that much, but... ...this is usually the type of lights you think about on a commercial, film set, theater or concert. Although these output a ton of light, they are bulky, heavy, need a ton of power to work, and get unbelievably hot, and I mean hot enough to instantly melt the skin on your hands. Many who use these lights buy what are called grip gloves, which keeps this from melting their skin . By the way, a grip is the person in charge of setting up equipment. In the US and Canada, grips set up the equipment to support the lighting, whereas in Europe, they just handle camera equipment. It’s union stuff. LED LIGHTING LEDs have had their problems such as not enough power to provide high light output, low CRI values, an inability to support pro power options, weird patterns given off by the lights, no or terrible dimming problems, bad flickering, and so on. As the power of these lights increased, they next had a problem with cooling, so added fans, and then had noise given off by the lights, or they just overheated and failed. Until recently, I stayed away from LED lights for just those reasons. That’s not the case anymore if you buy high-quality LED lights, which is why I’ve switched almost all my lighting to LED. NEWER LEDd These newer LED options are light, powerful, transportable, don’t burn your hands off, and offer battery power options out in the field that used to require the rental of generators, to name a few. Even newer, another term you might run into, is COB, which stands for CHIP ON BOARD This newer technology in LED lighting that allows for much more power output using a lot less power or wattage. That’s why you’ll see something like this Aputure LED light, the Light Storm COB 300D, output a blinding 142,000 LUX with certain attachments using only 300 watts, and a CRI over 96. Another example is this little dude right here, the Aputure Light Storm Mini-20D, which also uses COB technology to boast an AMAZING 40,000 LUX using 25 watts of power . These Aputure Tri-8 panels, boast 24, 000 LUX and again a high CRI/TLCI rating. All have top of the class heating management systems, some with adjustable color temperature dials built in dimmers, a rock-solid metal build, multiple power options to satisfy the novice or pro shooter, and remote controls, allowing me to be behind the camera and see what’s up. By the way, this video is NOT sponsored by Aputure nor do they even know this video is being made at this moment. After dumping tens of thousands of dollars into lighting, I’ve found these are the best lighting options you can get for the money, and the least problematic for new and beginning video creators and filmmakers. If you want to see the Aputure Light Storm COB 300d Review with some tips for lighting check out the video that should appear on an info card above or in the description below, and you can also look for the upcoming review of the Tri-8 panels and Mini-20’s coming to the channel soon. DIMMERS Having built-in dimmers on your lights are a god send, so look for them. It’s nice to be able to adjust the light output to suit the scene or setup, and especially using a remote control. It used to be you would re- direct the light or bounce it to get what you want, always sending some lighting guy, or yourself, back and forth, back and forth, until you got what you wanted. And you know what happens, you adjust one light, and you’re going to have to adjust the other. When you buy lights, look for dimmers, preferably with remote controls, and you’ll thank me later. POWER OPTIONS When looking for lights, don’t forget to look at the power options. In this day and age of budget filmmaking, most don’t have the money for a crew and location sets, let alone huge powerful lights and a budget for power generators. Make sure your lights have some sort of battery power option. Now a days you can get a lot of power for a very long time off of batteries. The most popular and widely available battery power options are the SONY F type batteries. They are included with most of the better lighting products sold as well as other filmmaking equipment such as field monitors. The higher the F series number, like 970, the longer the charge they will hold. Watch out for these off-brand batteries, especially ones that are specific to the lighting manufacturer and have non-standard connectors and chargers. They are usually cheap, hard to get more of, and if the manufacturer goes out of business, you’re screwed. Next would be an AC adapter. Unless these are small camera top-mounted lights for run and gun, don’t purchase a light that doesn’t have an included AC adapter. When you’re shooting interviews, in a studio, something on location, you don’t need to be worried about or dicking around with batteries running out of power. That not only goes for lighting, but cameras and audio equipment too. Finally, the ability to use a D-TAP connection on your lighting will be valuable as you move into higher end shooting. A D-TAP is just a type of connector and cable that allow you to use very high end batterires, such as V- mount and Gold mount batteries, which can let you shoot remotely all day without worrying about power or swapping out batteries every hour. If you want a tutorial on these types of batteries, look for the video where I cover Pro Power Options for Filmmakers in the info card above or in the description below. As a note, some will complain that the power isn’t built into the lights and is separated from the light, and you can ignore that. I get that it’s convenient, but what’s not understood is when the power options are separated from the light, it easier to provide more power options such as multiple batteries, AC adapters, and D-Taps. But there’s a reason higher cost lighting options place there power options off the main light unit and that’s weight. If I want to attach these lights up in a tree or somewhere without easy access, you don’t have to worry about the weight of the extra baggage on the light when I clamp it down. Even more important, now you have the option of changing the battery on the light without disturbing the light, or having to climb a freakin ladder to do so. I’m not saying the light is no good if the power is separated from the light. But if you see that it is, recognize that as a pro not con. BEAM ANGLE The angle of the beam coming out of the light is also important to look at. I’ve gotten lights for lighting the talent, stupidly not looking at the beam angle spec of 20 degrees, meaning, it’s basically a spot light. You’ll usually have anything from what is referred to as a flood l type light with something like an 80 degrees, down to a spot type light at about a 20 degrees. You’ve probably seen flood type lights to light a scene or a stage, then the use of spot type lights to light the stage actors or musicians. Look to see what the beam angle is on the lights you are buying. The ideal light has a way to adjust the beam angle, and so we come to this term, fresnel. WE-WE - FRESNEL A Fresnel was a light originally made for light houses and came into use for theater and movies. It includes a lens, which is glass, helps wash light over an area, and produces a soft light. The lens can be moved inside the housing to change the angle of the beam from a spot to a flood. These can be really expensive but these newer LED lighting options have low cost attachments, or, lights with the Fresnel built into them. It’s a really good idea to get a light with the Fresnel, as that way, you just purchased ONE light so you can control the beam angle and harshness of the light. It’s actually you saving money, as you can use the same light for multiple uses. COLOR TEMPERATURE CONTROLS Round three on color temperature, or kelvin. A very nice feature on these newer LED lights is the ability to adjust kelvin, or color temperature of the lights. This Mini-20-C has a built in color temperature control. These are really nice, for example, when you are lighting something indoors, have your white balance set to 3200K, and you want to add some extra light to the subject of the background. Instead of fighting your camera and it’s white balance, you can just adjust the color temperature of the light to suit. You can also use this to make some nice lighting effects, such as a background light that is a different color from the foreground lighting, adding some depth, dimension and color to your shots. Do take note, that when you have these color temperature controls to adjust the K values of the light, there’s only so many LEDS in a light, so they have to split up the color values of the LEDs to do this. That effectively means a light with an adjustable K value will not output as much light as one without. This same light without the color temp control will output at least two times the brightness of the one with. It’s not something to worry about, but you should be aware of it. These little guys come in a kit of three, two without the color temp control, and one with. That’s perfect for me. But what do you do if none of your lights have a color temp control? GELS Gels have been around for quite some time, and until the manufacturers started including color temp controls in their lights, gels were the only way to make the light the color they needed to be. Here’s an example. These Mini-20Ds are shipping at around 7000K, without the color temp controls. I want that, as I want them to be really intense, and they have dimmers so I can control that intensity. But let’s say I want to shoot in my studio here with all my other 5500K lights. We have that problem again of the camera not knowing what to do, nor can I set a respectable white balance. Knowing my color temperatures, which is another whole lighting study in itself, I know that at 7000K, I’m going to have a more bluer look. Looking at this kelvin chart, you can see if I’m at the top and want to bring the color temperature down, I’m going to use its opposite at the bottom, orange. If I have a light that is a warmer color temperature, like 3200K, and I want to bring it up into a more sunlight range, I would use its opposite, blue. So I use what’s called CTO, which stands for Color Temperature Orange. These are thin sheets of see through material that allow you to change the K temperature of a light. For example, all I do is insert this CTO card into the light and I have effectively altered the color temperature of the light to what I want. You can also just clip some CTO to the light, although included with this kit, you can purchase sheets of this stuff for something like $5. There are all sorts of uses for these gels. You could take CTB, or color temperature blue, to make the color temperature look more like nighttime. These come in different intensities and colors, such as a magenta gel, the opposite color of green, used over the backlights on the actor when shooting on a green screen, as the magenta will cancel out any green spilling over onto the actor making it easier to separate them from the green screen in post editing. But usually, it’s just a CTO to reduce the color temperature, or a CTB to increase it. The best thing to do in shooting in situations such as this studio, is to have matching lights with the proper white balance set, and you’ve got no worries. CABLES Really, you wouldn’t think you’d have to worry about the size or quality of your lighting cables, but in many cases you do. If you know your microphone technology, you’ll be familiar with XLR cables. These have been around forever. XLR cables allow you to run very long lengths of cable, from say, a microphone on stage to a mixing board way out in the audience at a concert. I’ve tried using these 3.5mm cables and because I’m running about 15 feet of cable from my mic, down the stand, across the floor, up the wall, and over to my audio recorder. they lose their power and start to introduce a lot of noise. That’s why my overhead mic uses an XLR cable running into my audio recorder. XLR and mini-XLR cables have found their way into lighting to supply power over long distances. If you’re setting a light up in a tree, and your thin crappy power cable isn’t long enough, you’ll probably get extension cords and wonder why your lights stop working. Although XLR cables aren’t a necessity for most watching this channel, if the lights you are looking at include them, it’s probably a good lighting option. Regardless, if you see some high-end light and the power cable is some paper thin cable, you might want to look elsewhere, as that’s probably an indication they cut corners or the light is not the power you need. BARN DOORS Yeehaw cowboy! You want some barn doors. You’d be amazed how many new filmmakers are afraid to ask what these things on lights are, or think they’re just something to make their lights look cool so they look like they know what they are doing. Look, if you are afraid to ask the easy questions, either come to this channel and ask them, send me an email, or stay stupid forever, your choice. Barn doors are used to take the light coming out of the unit, and shape it, or control it. If you want to light a subject, and not have the light spill all over everything else, you could use the barn doors to isolate it. Or you can use barn doors to create cool effects, such as a slash across a background or object. The watchword in lighting is control. You control the lights, what they do, and how they look, not the other way round. These also come with nice options, such as the ability to drop in gels, and they should also have an infinity of 360 degree rotation. DIFFUSION As we’ve covered, not all light or lighting is the same. Depending on the output of your lights, they can be extremely bright, and you might want to soften them up a bit. That’s where diffusion comes in. By definition, diffusion is filters used in stage lighting and photography. They are also referred to as diffusion gel, or just diffusion. Diffusion gels soften the light to reduce shadows or glare. Now a days, most think of diffusion as simply some cloth that cuts down on the light so it isn’t that harsh. You can see the difference between the same light using diffusion and the other one that isn’t. You’ll hear people talking about softboxes, and without going too deep, they’re talking about lights with a lot of diffusion or cloth on them. You don’t have to get softboxes if you don’t want them, although they are really nice for interviews and such. Looking at this Tri-8, it’s comes with a diffuser and diffusion cloth easily mounted onto the light, which I prefer, at least shooting in this studio. The way lights are diffussed on a set are usually these big panels placed in front of the lights, or umbrellas. The credo of a person doing lighting is control, and that why you get all these addon things for lighting. You take the scene of thing you are lighting, and you craft how it will look with barn doors, diffusion, the beam angle, color temperature, and so on. You can invest in these as time goes on, but to start, you can do something as simple as hang a white sheet in front of the lights. [SILLY COMMERCIAL SPOT] If you’re looking at lighting, and they include some method of adding diffusion, that’s great. At some point you'll want it. LIGHT STANDS Don’t be surprised if the light or the kit you buy DOES NOT include light stands. Usually better lights are being bought by people who already have a ton of light stands, and it makes them unhappy to be paying even more for something they don’t need. And on a lot of these lower cost kits, these stands are, well, crap. They’re not sturdy, they fall over, and the cheap plastic knobs always break off, rendering the stand useless. It’s far easier for you to go to Amazon or something, and purchase a $5 light stand, a $50 dollar light stand with hydraulic air cushioning, or a $150 c-stand that is built like a tank and last you the next 50 years. OTHER GOODIES Depending on the quality of the lights you are purchasing, they will include, or not include various other goodies. Some of them are just plain stupid, and some you can tell the manufacturer really thought out what the person may need. Including light stands that break, mounts made out of cheap plastic, and a $5 gift card to McDonalds I don’t need. A light kit like this one that includes metal clamp brackets, quality mounts, gel cards, CTO sheets and even the clips to mount them I do. Three Sony F-970 batteries and battery chargers with charging indicator lights, and AC adapter, and D-Tap I need. A transportable protective bag so I can grab and go, set up, shoot, pack up, and keep all my stuff together I need. This is smart, and tells me these guys know what Ineed and aren’t trying to sell me something based on all the junk they include. So when looking at all these cool accessories the seller throws in, realize you are paying for those accessories. Don’t look at the quantity of goodies included, looks at whether you’re paying for a bunch of junk or things that are useful and you will need. WARRANTY Amazing is how many people run into problems with cheaper gear. The old adage, you get what you pay for, seems to be in full bloom when it comes to lighting products. You buy a $50 light, it stops working, you try and return it, it’s a problem, and there goes $50 down the drain and you just want to break something. Look at it this way… How confident is the manufacturer on the gear they are selling you? Aperture lighting products, 2 years, and considering it’s lighting, that’s epic. Rode microphone products, 10 years. And both of these manufacturers I’ve dealt with, and they do whatever it takes to make it right. I’ve worked with other manufacturers with a supposed good warranty and when something happens, all you hear is crickets. [CHIRPINGLITTLEDUDES] So check out the warranty, and also check out their Facebook or online support page. If you see a bajillion posts about how their service and return policy sucks, and no one is answering, then stay away. CONCLUSION Certainly I didn’t cover every facet of lighting, and didn’t intend to. The idea was to make sure you understood enough terms and are armed with enough information to intelligently decide how and where to spend your hard earned money on lighting. If you’re interested in any of the Aputure products I’ve mentioned, I’ve included links for them in the description below. Again, I am not sponsored by Aputure and they don’t even know I am making this video. But seeing how I have 2 Light Storm Mini 20 Ds, 1 Light Storm Mini 20 C, six Amaran Tri-8s, 3 HR672s, the Aputure Diety, and a VS-5 monitor, all from Aputure, well should tell you something. And If you look at that subscribe button below the video, and it looks like this, click it. Red Is bad. If it looks like this, click the bell. If it looks this this, you’re up-to-date and awesome>! I hope that helps, thanks for watching, and we’ll see you next time.
