Advice on key light for project with Ursa Mini 4.6k

Hi Guys,

I’m looking to invest in an affordable key light for short films and music videos, most of which will be shot with the 4.6k Ursa Mini which my friend currently has on order.

I’ve narrowed it down to two options, both from Aputure and I wanted some advice on which will be best for my needs (sadly I can’t afford both);

Aputure Light Storm LS COB 120t;


Aputure Lightstorm LS1;

The LS COB 120t looks like it would be more versatile for creating different looks due to the Bowens mount fixture and the fact it’s a hard light. However, because it’s tungsten balanced I’m wondering how much output I’d loose by throwing a blue gel in front of it when I need it to be daylight balanced. One thing I really want to do is to light scenes to look like moonlight (similar to the way the guy does it in the review for the Lightstorm LS1).

We will also be lighting interior night scenes, which we want to look like tungsten. We want to create that Rembrandt lighting affect that is used in a lot of movies and photography. I’m guessing the COB would be easier for this?

We already have a number of the smaller Aputure LED lights (Aputure 528s) to use as key lights and fill lights.

Any advice greatly appreciated - lighting is something we are just learning as most of our experience prior to this comes from run and gun type shooting. I hope that we’ll be able to practice our skills using this LED lights alongside the smaller ones we already have.

Thanks for your time.

All the best,
Matt

Ls1s is my vote.


Sent from my iPhone using Tapatalk

Ls1s is my vote.


Sent from my iPhone using Tapatalk

Thanks James. I was leaning towards the other one as I thought it would be more flexible for creating different looks. Cos it's a hard light I thought it would be easier to flag off and cut.

Interested to hear your reasons for the LS1 though.

Thanks

I don't own it but the COB120T is on my wish list for reasons previously cited, primarily flexibility and suitability for interior use. If the primary use was exterior, I'd look elsewhere depending upon the coverage strength needed.


Sent from my iPad using Tapatalk

I don't own it but the COB120T is on my wish list for reasons previously cited, primarily flexibility and suitability for interior use. If the primary use was exterior, I'd look elsewhere depending upon the coverage strength needed.

Thanks Rick. You make a good point, I need to be able to light the exteriors which are on a remote location without power. For this I think the LS1 is a better choice and I'll probably look to hire something for interiors or get the COB120T further down the line.

Thanks,
Matt

Was at a music event today and was talking with a news cinematographer from a Canadian broadcast network. He was using a Fiilex light, but when I commented on it, he said his favourite light was a Zylight. I couldn't talk too long as he had work to do, but he loved the way you could dial in any colour on the light he liked. "Expensive but worth it," he said.


Sent from my iPad using Tapatalk

...Fiilex light ... Zylight ... "Expensive but worth it,"

Yep.

Here in the USA the networks and affiliates that I've come across or worked for also used Anton Bauer lamps. But I'm not a fan of on-camera lights.

The LS COB 120t is certainly interesting and has my attention, however, I am more interested in their upcoming daylight version.

I was thinking a daylight and a tungsten, but that's more costly than using a CTB except the true daylight will have higher lumens. (Eeek! Am I starting to sound like I've been to film school?). I'll poke around on the Zylight site to see if I can find the particular light he probably prefers.


Sent from my iPad using Tapatalk

Thanks Rick, Jason and James for your responses on this.

In the end I've gone for the LS1 panel as I think it'll be better for lighting outside in remote locations. If I need a hard light I can always rent something like an Arri Fresnel fairly cheaply. Maybe I'll get the COB 120t tungsten further down the line when I have a bit more cash.

Rick, I really like the Zylight lights. Thanks for letting me know about them. Sadly they out of my price range at the moment. Maybe one day.

All the best,
Matt

Matt, that's how I feel. This is a pro with 25 years experience and he had to borrow a Fiilex while praising the expensive Zylight. I still haven't done enough research on that light he liked while I'm trying to finish the little video from yesterday and dealing with other life priorities.


Sent from my iPad using Tapatalk

Matt, my take on it is probably from the opposite end.
In low budget dramatic production, my concern is not inexpensive light coverage, or hard of soft light, but inexpensive light control.
Those panels bring with them time consuming strategies to control spillage, especially after diffusion and in small spaces, which is tightly associated to low budget productions. Not to mention the awful, unrealistic shadows they create.
I would look for lights in which the fixture give you better level of light shaping and do not introduce added cost, time, money and grip hands, to the production. It's a shame that the most appropriate lights for low budget production, like Dedo's, small Zylights and Fillex and so on, are so out of the budget of the people that needs them most.
The 120 is much more in line with my way of working, just a shame that for now is only 3000K.

Looking over the current Zylight LEDs, I am sure that the model the broadcast cinematographer liked was that Z90. There is an even smaller light under $500 with somewhat similar features but less power and less spread, but that Z90 does look good at this point.
http://www.filmandvideolighting.com/zyl ... d-tap.html

Sent from my iPad using Tapatalk

For $1200 Rick, I think I will stick with my old Anton Bauer Quartz Ultralight, it is also warmer looking, which I like. Add a diffusion filter to the front, and it's a great little kick light.

I thought that was Canadian dollars but I see it’s probably US dollars. Crazy the kit doesn’t include their AC/DC power transformer which does bring it close to $1,200. I’m thinking the smaller Zylight Newz may be a sufficient option for some work, but not sure if the beam will add enough fill to subjects 3m from the camera:

http://www.filmandvideolighting.com/zyl ... light.html

Good question Rick, the Quartz light did, and sometimes too much, hince the diffusion filter on the front, to "soften" the light a little.

Man I played with that 120T before and it's a damn fine light. Didn't know they were out already.

Have a look at this one too. We decided to buy it since it's daylight and has no fan – so nice for interiors:
http://wolfcrow.com/blog/nanguang-cn-60 ... el-review/

Looks like good value especially as a daylight fixture.


Sent from my iPad using Tapatalk

We bought two and they even added the remote as a gift. You can set up to 100 channels for the lights and control intensity from your camera position – very nice to have. Unfortunately you can't control the focusing or the barn doors like that…

Matt, my take on it is probably from the opposite end.
In low budget dramatic production, my concern is not inexpensive light coverage, or hard of soft light, but inexpensive light control.
Those panels bring with them time consuming strategies to control spillage, especially after diffusion and in small spaces, which is tightly associated to low budget productions. Not to mention the awful, unrealistic shadows they create.
I would look for lights in which the fixture give you better level of light shaping and do not introduce added cost, time, money and grip hands, to the production. It's a shame that the most appropriate lights for low budget production, like Dedo's, small Zylights and Fillex and so on, are so out of the budget of the people that needs them most.
The 120 is much more in line with my way of working, just a shame that for now is only 3000K.

Hi Carlos, thanks for the advice. We're looking to rent a Dedo kit or something similar for the interior scenes on this next project. I got the Aputure Lightsorm as it will come in really handing for using outside in remote locations without power. It's just a shame we can't afford to buy a set of Dedo lights, but at least we can always rent.

Thanks to Rick, Vic and everyone else to replied to me. Really appreciate it.