![]() My first exposure to them was the battery-powered Quasar Science Q-LED tube lights. Lately, I’ve been using more tube lights by Quasar Science and I never thought I would take to them as much as I have. ![]() I use all daylight these days and bi-color lights have the advantage of being able to play well with other lights since you can dial them in to match. I’ll stick a couple of Litepanel ASTRA panels or an Aputure COB 120d or 300d behind them to get the output and look I need. I can put all kinds of lights behind them since the 4×4 front now becomes the source. 4×4 frames are a big part of my lighting setups. To get soft lighting you either have to use diffusion or bounce the light onto the subject to create a large source. No pun intended □ In this setup, we have the Intellytech LC-160 2×2 LED with diffusion attached and grid to prevent light spill on the black background and a Quasar Science QLED bouncing into a large beadboard. I like how it wraps the talent and is nice and soft. Personally, I’m a big fan of large lighting sources. We are also seeing lights with 95 to 98 CRI consistently in the lower price ranges. LED lighting keeps getting better with options from fresnels to large panels and punchy RGB fixtures. Inside the yellow circle of the COB is an array of tiny LED’s that produce a single source. Even though the lights we do use don’t need to be as big and bright, we still need to use them.Ībove is what a COB or ‘Chip On Board’ light looks like. ![]() Yeah, cameras are really good now with clean, high ISO levels, but we need to use lights. Lighting is one of the fastest changing and evolving parts of the film and video production world. At the end of the day, you tear it all down! I think it’s the kid in me that likes to build with Lego which is why I like shiny light stands and diffusion frames. As a result, I learn a few things plus it’s fun! Also along with lighting comes gripping. I also like to try new diffusion techniques as well as different types of fixtures. I’m not a guy who always does the same setup. When I have the opportunity to try something different I jump right in. Creating a mood or look is important to tell the story or the message you want to deliver. If you’re rigging the light from a stand, you’ll want to take into account any other extra length.I love lighting! It truly makes the shot. You can use white if you want a little extra output, or black if you really want to cut back on the spill. To begin, get a piece of foam core the length of your light. In this sense, it’s more like a strip of diffusion or gel than a piece of grip equipment. This isn’t as reusable as the pro version, but it’s much cheaper, and you can build and customize them to the light rig you’re working with. One method I’ve found incredibly helpful is making your own light control with foam core. It does a good job controlling spill, letting you get the light where you want it, but spending more than the light on a controlled system is not always possible, especially if you have multiple lights or banks of tubes to control. The industry-standard DOP choice unit for a four-inch tube light is over $200. ![]() Light control cases - known as egg crates or grids - are available, but they can be expensive. One downside of this design is that it makes the lights hard to control, illuminating your subject and whatever else is in the general direction. Without this, the individual LEDs would be too harsh and specular. One thing that most tube-style lights share is built-in diffusion, which scatters the light from the line of LEDs over a wide area. ![]() They come in slim, no-nonsense versions like the $75 Quasar Daylight T8s, all the way up to the app-controlled RGB Digital Sputnik Voyagers. They’re cheap, versatile, and you can rig them almost anywhere. Tube lights are probably the fastest growing type of fixture on film sets, both big and small. In this tutorial, we’ll go over how to build an inexpensive - and relatively simple - quasar-style light control using foam core. ![]()
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