Best on camera light

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<geek>

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anton bauer ultralight 2 with barn doors. lowest profile and can change bulb cages quickly.

many cameras have the conecter for them and can be set to start and stop with the rec start stop good feature for battery life and doesn't require external battery supply.

second chioce nrg verilux pro onboard power dimmer that doesn't rob power to dim it. I'm surprised it's not more popular. however it does require battery belt I use it for night stuff has enough for 35ft+ and still can dim down for close-ups.
 

aussie

Well-known member
are you using a sun gun for interviews???
err... if you shoot news there are times when
for instance outside court , at a police scene
the list goes on and on , where there are no
power points . ;)
 

ravenm

Active member
anyone done any experimenting with LED bulbs in their on-camera lights? i found a bulb that fits our frezzis for about $80....seems ok, but who knows?
 

dangit

Member
No. 1 concern is shooting interviews outside and needing 5600K.

I like the light weight of the Paglight and the powerarc option.

With the powerarc 24W lamp = 100W halogen does that 'blind' the subject on close-ups? Would you suggest using the softlight diffuser with the powerarc?

How does that compare to the halogen lamps with the dichroic filter to get 5600K AND using a diffuser compared to the powerarc and a softlight diffuser? Any experience with that setup?
 
J

<Jtown>

Guest
While on the topic of camera lights, our engineer is considering attaching a custom made flexible arm (ala french flag arm but shorter)for the camera light mount to help create minor off axis lighting in run and gun situations. Anybody ever try this type of setup? Obviously it'll be a bit more cumbersome but are there any major negative issues that anybody can think of?
 

Nino

Well-known member
I have and use them both, the Anton Bauer and the Pag, both with the daylight and tungsten modules. The AB is definitely a better-built light and the HMI has a greater output over the Pag. Changing over the modules from tungsten to HMI is an easy two-step operation. The Pag is also quick to change but require an extra step for a protective cover to be placed over the bulb. Unfortunately the AB costs twice as match as the Pag. The Pag has a tungsten module with a dimmer, something that AB doesn’t offer.

Don’t expect the small HMI to make a great difference if shooting with the sun behind you. The light might give you a catch light in the eyes and slightly reduce the shadow areas. The best way to take advantage of the on camera HMI is to have the subject backlit, sun in front of you (or side front). You can overexpose the edges (rim light) in order to get a good exposure on the face without sacrificing the overall quality, actually I prefer backlighting a subject. Backgrounds such a building or a grandstand will also be backlit (in the shadow) and will not overexpose your shot. You just have to plan and experiment. Just make sure that the sun doesn’t flare into the lens, use a good lens hood or a matte box with a French flag. I use the Pag as a second light, on a stand self powered by a NP battery. You can place the light just outside the camera view in order to get some modeling on the face.

Yes, the light might cause discomfort in some people’s eyes. If the subject is talking into the camera I use a 6” stud to elevate the light. For interviews looking off camera the position of the light doesn’t matter.

The question of using an arm to bring the light off the side enough to create some modeling was posted before. In my opinion it will not work. First to create a decent modeling the light should be at least 3 feet off the side but it should also be elevated. Now that you have a key light casting a shadow on the face, you will also need a second light to fill those shadows to the desired ratio. Also, any slight movement of the camera will throw the light way off the subject.
 

dangit

Member
Thanks for the good advice.

Since the Paglight is less expensive and has the PowerArc option I'll go with it.

Like you, I backlight the subject with the sun. So I need soft, even light on the subject's face.

The background is very important in my shooting in order to establish the shot. It's a real pain keeping the subject's face exposed correctly when the background is fully exposed to the sun.

I do a lot of shooting in places like Montana where the sun is very strong due to the extremely clear air. Any ideas?
 

Nino

Well-known member
I do a lot of shooting in places like Montana where the sun is very strong due to the extremely clear air.
And it doesn't set until past 9pm. I know, I spend many weeks shooting travel progams in Western Montana. Heaven on earth.

My other suggestion would be to use a reflector on a stand. Unfortunately you will have the same problem in Montana as I did when I moved to Florida. Lots of sun an also lots of wind.

Check this out.
http://www.tgproductions.com/reflector/index.htm

Unfortunatley I don't have the time to market it but if you are handy with tools you can easily make one yourself. I have also a larger one for stand only that takes reflectors up to 30". In the wind is as solid as a hard reflector.
 

dangit

Member
After reading another post where you refrenced your web site I visited that page and saw your idea. Nice equipment cart too.

You've got some good ideas so this is to put you on notice that I intend to blantly rip 'em off. :D

I have a small reflector like the one you show and could attach it to a light stand. What you're saying about the wind in Montana is so true. Just keeping the camera steady on certain days is a daunting task. I could use some sand or lead weight bags on the legs of the light stand to hold it down.

Thanks for the good advice and ideas.
 
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