DIY – Lighting For Under $100

on Feb 10th 2010 with 74 comments

Of all the tutorial requests we get here on the site, people constantly ask for QuickTips on actually gathering content that they can use for After Effects. We’re going to start posting a few little helpers that should benefit your projects before you even sit down at the editing suite.

Requirements

Download PDF

Guide List

Overview

  • Core Training Value: You’ll learn how to create a basic interview lighting set up for under 100$.
  • Difficulty: Beginner

QuickTip

Download QuickTip .flv

File size 54.2MB

 
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Pixel Mobb is a small team of creatives who love to push limits, work crazy hours, and passionately discuss ideas. Become a fan on Facebook or follow us on twitter. Peter J. Normandia is a director/editor, and Mitch Martinez is a DP, and owner of Stamphill.com.  

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  • http://www.alpha-dsgn.com Osvaldo_Tampico

    Oh My F’ing God!!! This is by far the best lighting tutorial I’ve ever seen in my entire life!!! Simple and direct!!! Cutting the crap out! Just resolving everybody’s doubts! I’ve seen tutorials about lighting that last HOURS!!! And all you need now a days is just this!!! Please please keep with the excellent job!

  • ExtremRaym

    Hey man ! This is a very uncommon tuts ! Really great !
    nice explanation, nice sound, nice picture
    and nice tips :)

    In fact… it’s not really an After Effetcs Tutorial, and not a Special Effect tutoriakl, but anyway… if we have to put that video in a category…

    What about (chip) reflectors the next time ? It could be interresting !

  • jaksa

    i dont like the hair light…dont look good at all for me….its too intense i think

    • http://pixelmobb.com Pete
      Author

      OF course you can always back it off a bit and use it as more of a fill. We personally like the separation it creates, but its not a necessity.

    • http://stamphill.com Mitch

      Another way to tone down the intensity of the hair light is to put in a lower watt bulb. This tutorial is just outlining a basic a frame. Adjust the portions to taste… like cooking.

  • Enrico

    Sweet stuff guys! Thanks a lot. Hair light is a bit to hard for my taste, but never mind, this is just explaining the basics . Great lil tip and to the point. Sharing is caring

  • WGSXFrank

    I know this is not an “AE Tut” per say.. but I’m glad to see this type of tutorial here! I’d love to see more like this in the future!

  • x

    Yeah, nice.

  • http://pixelmobb.com Pete
    Author

    Osvaldo & WGSXFrank

    Thanks for the kind words. We are looking forward to putting up more of these in the future.

  • http://umair.biz Umair Irfan

    GOOD tutorial!

    PLEASE post more DIY tuts!! Love em!

  • http://www.pixelmobb.com Christopher Perilli

    Pixel Mobb & Stamphill in the Building. ;-) http://www.pixelmobb.com

  • Jason

    Very nice Tut.

    But, the hair light is just too low. It shouldn’t backlight your ears. I would suggest making the hair light higher up. Which would illuminate more of the top of the head than the bottom

  • Richard

    Nice.

    What if your talent is temperamental and doesn’t want the hair on their ears highlighted?

    • http://pixelmobb.com Pete
      Author

      LOL

  • Brett Perry

    Good basic lighting tutorial. A fill light from the left of the interview subject (another five dollar fixture) would soften the shadow on the subjects right side and make the rim (back) lighting a little less obvious. You can also accomplish this effect using a white poster board (very cheap) as a reflector to bounce some of the key light back as the fill to soften the shadows on the right side of the subject. I have even used an old projector screen to bounce light. They work great because they’re coated with little glass beads. I look forward to the next tutorial to see how you accomplish the overhead lighting without light stands. I edit and do visual effects on quite a few indie films and agree that lighting is usually not the best, but the real problem I see with most indies is bad sound. Maybe you guys could share some tips on sound set ups. I’m sure they’d be welcome and you guys do a great job communicating the “hows” and “whys.” Rock on!

    • http://pixelmobb.com Pete
      Author

      Thanks Brett. All great suggestions. We were trying to go ultra ‘basic’. Love the projector screen idea, I’ll have to try that.

    • http://stamphill.com Mitch

      we have a few new tuts in queue having to do with lighting and camera moves ready to go, but we’ll see about getting some sound tips together for you where we’ll briefly discuss some quick techniques, differences between omni and uni-directional mics, sound mixers, phantom power, and more.

      until then, reduce all background sounds to a minimum; get the mic as close to your subject without inhibiting movement, performance, or casting shadows; and have the microphone pickup angled at the proper direction for sound pickup.

      cheers!

  • Richard Williams

    Quick and easy, down and dirty; loved it! Great job presenting, Pete; you’re obviously very comfortable in front of the camera.

    • http://pixelmobb.com Pete
      Author

      thanks Rich. Down & dirty is our comfort zone. :)

  • http://stamphill.com Mitch

    Glad everyone is like this DIY tut. we have more in store for you. if you have any DIY production tut requests, let us know.

    The need for DIY and budget production is ever present. On a shoot I had in Illinois last week, I had to light a scene inside an old freight elevator without any electrical outlets or conventional power supply – the tricky part is that the elevator had its doors fully closed and was moving several floors while the shot took place. The story has a happy ending though… Can’t wait to share what we came up with to make it work.

  • http://www.imkenvideo.com Mike

    Good stuff. A cheaper and more professional recommendation on the key light though, which is comparable or usually less than the shop light, is a Chinese lantern setup, which I’ve used and works great, and seen used on major productions. The lantern (around $2), light socket assembly ($7 or so) and light bulb (like $3) are at any lighting or home store. The advantage is also a VERY nice, already diffused light for interviews. My own recently filmed example as reference:

    http://www.youtube.com/watch?v=CHy8lF27pVQ

    You will need a stand/arm for the lantern assembly of course, but those also can be inexpensive.

    I also think the hair light should be higher up. It would put less attention to the ears and just gives a soft halo to the person. But overall a great job on introducing an important feature of filmmaking.

    • http://stamphill.com Mitch

      China balls are great. Anyone with a reasonable knowledge base for lighting knows that there are a dozen ways to do one thing.

      We went with the Home Depot work lights as key light because they seem to be a little more common in the “real world” that many people viewing the tut might already have one in their basement (or their neighbors or parents might have one that could be borrowed).

      China balls will produce a great, soft light source that is less directional than work lights. This can be good or bad depending on what exactly you’re trying to accomplish in your shot. I personally like a solid direction of light to the key light; but a china ball off to the shadow side with a lower watt bulb would be stellar for fill light if you want to go the extra mile.

      The hair light was pretty good – Pete just has weird ears. We did a talking head interview in this exact set-up after shooting the tut and that one looked great.

      The bottom line is that the more control you have over the direction, properties and quality of light – the more customizable tweaks you can make to really make your images shine.

      • http://www.imkenvideo.com Mike

        Very true — there’s many ways to skin/light a cat. Good job on putting this out there. Don’t get me wrong — this really looks good. Just my two cents and contribution as an alternate. Keep up the great work!

  • http://www.youtube.com/wrenthereaper Wren Weichman

    I have to say, this quick tip is really good. I have yet to employ a good lighting set up in any of my videos as I always depend on natural lighting, but this is definitely a great and efficient use of a couple minutes to know exactly what to use and how easy it is to get what you need.

  • Sarakiya Komzin

    Thank you! Great Tutorial!

    I love that you guys were direct, to-the-point, and used materials that I know I can find easily.

    Any possibility of adding a little more info on where the lights are positioned in relation to the subject. I can definitely get a sense from the video, but maybe something a little more specific (particularly with regards to the back-lighting). I seem to get a lot of shadows when I set up my lights. I know I’m positioning them wrong, but I haven’t yet figured out how to do it right.

    Thanks again!

    • http://pixelmobb.com Pete
      Author

      x-hair light (knee high aimed toward the back of the neck)

      SUBJECT

      x-back light (orange gel)

      X-Key Light

      Let me know if this helps.

      • http://pixelmobb.com Pete
        Author

        Sorry, i tried to space the lights to show you. The hair light is behind the subject, slightly to the left, knee high, aimed toward the back of the Subject’s head.

        The back light is to the right of the Subject at about 45 degrees. And the Key light is slightly right (almost head on) same side of the Subject as the back light.

        You definitely have to play, and your environment is something to be considered

      • http://pixelmobb.com Pete
        Author

        x-hair light (knee high aimed toward the back of the neck)
        ….SUBJECT

        ………………….x-back light (orange gel)

        ………X-Key Light

        like this kind of :)

      • Sarakiya Komzin

        Perfect- Thank you!

        I’m going to use that soon.

        I really appreciate the time to explain.

  • http://pixelmobb.com Christopher Perilli
  • http://www.view54.com olivier dalmasso

    Thx for the tips. Very simple and usefull.

  • mm

    great tut guys, I was wondering if you could throw up a quick diagram of where all the lights are. I’m not sure where to place the hair light. On the floor, pointing up?

    • http://pixelmobb.com Pete
      Author

      x-hair light (knee high aimed toward the back of the neck)
      …….SUBJECT

      ………………….x-back light (orange gel)

      ..………X-Key Light

      like this kind of :)

      • http://pixelmobb.com Pete
        Author

        oops…forgot the camera

        x-hair light (knee high aimed toward the back of the neck)
        ……..SUBJECT

        ……………….x-back light (orange gel)
        ……….\/
        ……CAMERA
        ..………X-Key Light

  • George Andreoni

    Caras, show de bola. Bem legal o tuto basico sobre lights. Gostaria de ver mais algumas coisas, por favor continuem postando novos tutoriais para que assim possamos aprender e desenvolver melhor o nosso trabalho na “guerrilha” do audiovisual.
    Muito obrigado.

    George Andreoni
    ________________________________________________________
    Guys, show de bola. Very nice tutorial on basic lights. I would like to see some more stuff, please keep posting new tutorials so we can learn and develop further our work in “guerrilla” video production.
    Thank you very much.

    George Andreoni

  • http://www.lunaproject.com Martin

    Refreshing tutorial. definitly like to see more of these. make a new channel for these kind of tuts. cin.tuts+ perhaps?
    anyway, keep up the good work guys!

  • Jay

    This is a really great change of pace. I love how you didn’t mess around and gave a to-the-point, working tut, that was light hearted and fun. This is honestly something alot of people need to know as well. I would love to see more tuts like this helping people with things other than just the effects.

  • frankyframe

    in the past
    i tried all that methods of cheap lighning for a small near eastern tv station.
    its realy unsuitable. if you dont have the money, okey just do it. but if you re a tight-fisted pearson or comany, please buy a small lighning box!
    for example the 500 watt shocklight didnt work more than 10-20 days by using it 5h a day. we used it as fill lights, this was ok.
    also a bad idea was the selfbuild kinoflow,
    oh i was wundering that there is so much flicker.
    today the only cheap light i use is the daylight save lamp with chinaballs for chroma key

    • http://stamphill.com Mitch

      in a perfect world, everyone would have the budget for pro lights. personally, the only time I don’t use pro lights is when I’m shooting DIY tuts to show people how to get a decent image from non-pro gear or unconventional methods.

      if you have enough paying gigs to do 10-20 days of talking head interviews, chances are you’d also have the budget available for a small lighting kit. this tut is for the people who don’t fall into that category…

      to anyone who does have the budget for “real” lighting gear, I highly advise it. it’s awesome. frankyframe is right – it’s really the long term solution. for anyone who doesn’t have pro lighting in the budget, maybe this and some of our upcoming tuts can help increase some DIY production values for you.

      cheers!

  • Lyndon

    Pixel Mob? Thas a sick name homie :) I can dig. Cool hands on tut!

  • http://www.youtube.com/v4vfx ramesh

    thnaks for sharing this cool technique …

    please make a tut of how to setup lights to make all the background black except the subject as seen on discovery channel “i should not be alive”

    • http://stamphill.com Mitch

      no problem, ramesh. if you have any specific shot examples, feel free to send a vimeo or youtube link to what you’re looking to do so we can make sure we’re on the same page as to what you want to accomplish. from there, it should be swift work on showing everyone how to do it.

      • http://www.youtube.com/v4vfx ramesh

        thanks Mitch its so kind of u. here is the link

        http://www.youtube.com/watch?v=j1ywDa0gx9E&feature=related

        at 1:22

      • http://stamphill.com Mitch

        hi ramesh.

        I checked out the link and I don’t even think you need a 2nd tutorial for that. you’re using the same lighting techniques – just omit the background light and simply use a black backdrop cloth (maybe $15 of cloth at a fabric store) instead of having a regular interview background. make sure you have enough space to place the hair lights high (they have two of them in your linked example – a strong hair light from frame left and a smaller one frame right) and be prepared to use some aluminum foil or something to control the spill of the hair light if it’s falling all over the place. if you’re seeing too much background, try bringing the lights closer to the subject or use higher output light to facilitate stopping down the iris on your camera (making the aperture smaller/higher f stop); that can help reduce or eliminate fabric wrinkles that may be lurking.

        if you have a big enough area, you could even do without the backdrop and just shoot down a hallway… just make sure you won’t be picking up anything in the background. if you see something there that’s easily moved – just get it out of your frame or drape something black over it for the time of your shot.

        also note, that they had a very directional (contrasty) key light direction. so you might want to place your key light at a little bit more of a profile angle for that harder shadow.

        if there’s any questions, let me know – or if you’d still like to see a tutorial of it in action after that long-winded explanation – just give a shout and we’ll whip one up.

      • http://www.youtube.com/v4vfx ramesh

        hey Mitch thanks for that detail explanation. u r right there is no need for a tut if it is done with the help of black cloth but if there is another way (because i seen people doing this without the black cloth) everyone will love to see that technique.

        thanks again

  • http://www.uproarmultimedia.com Gregory Gunther

    This was quite good as a tutorial idea. I liked how you lit each light individually to show their contribution in creating an overall lighting scheme. Obviously if the production has the money for pro lights that is the best way to go, but for an adequate set-up for under $100, this is quite doable. (and makes it so there is no excuse for not shooting your video.) Good job.

  • mia

    needs a set-up sketch to make it complete. thanks

    • http://stamphill.com Mitch

      pete has a pdf ready to go. if it’s not uploaded already, he’ll get it online for everyone very soon.

    • http://pixelmobb.com Pete
      Author

      x-hair light (knee high aimed toward the back of the neck)
      ……..SUBJECT

      ……………….x-back light (orange gel)

      ……….\/
      ……CAMERA

      ….………X-Key Light

  • http://coomingsoon Orlando

    Wow! this is amazing we really wanna thank you both you guys …
    do you have website ?

    • http://stamphill.com Mitch

      pixelmobb.com

      and

      stamphill.com

  • Ed Wood

    Thank you for the tip. Great explanation. Straight to the point.

    Same as ramesh’s query: would it be possible to have another tut of this kind and quality explaining simply how to light the subject in keeping a black background?

    …Then maybe one other tut also explaining how to light more complex scenes of fictions where several actors interact with each other… Of course, I guess the lights setup depends on the specificity of each situation but just to get some guidelines and rules of thumb, I think such additional tuts could help a lot.

    Thanks again!

    • http://stamphill.com Mitch

      no problem. the next tut has to do with the overhead lighting to keep your light source out of sight and then we have a couple tuts having to do with DIY dollies. after those are up, we can rock out those requests.

      there’s a few ways to do the “black background” subject. maybe we’ll give you two or three tuts – each with a different way illustrated. you can then choose which you like best or fits your location/lighting parameters.

      • http://stamphill.com Mitch

        update – see explanation/instructions and reply based up on supplied link by ramesh. let us know if you’d still like to see a video tutorial of it.

      • Ed Wood

        Hi Mitch,

        Thanks a lot for this explanation and for your prompt reply.

        However, I confirm I would still be interested in seeing a video tutorial of this technique.

        The example given by Ramesh is quite right but the final rendering I had in mind would rather be as in this video made of interviews (i.e. a bit more “artistic” and flattering for the subject):

        http://www.youtube.com/watch?v=W0OiZZn44F4&feature=related

        …But maybe the difference with Ramesh’s example comes from the different cameras/lenses used in practice between these 2 respective videos and not really the light setup (?)… In addition, in Ramesh’s example, the subject is in the middle of the frame, facing the camera, which also seems less flattering to me than the setup chosen in this Band of brothers video…

        A video tut of this would then surely help us understand better what is needed (don’t forget also to re-do some successive after/before just like at 2:15 of your current video (with the parchment paper)… I know, I ask a lot, but it’s really helpful to be able to appreciate immediately the impact of each component of the whole setup ;-)).

      • http://stamphill.com Mitch

        we’ll whip a tutorial for you guys about this…

        next up is some stuff about diy and low budget dollies, and then working with diy dimmers and in-line switches; but after that we should be able to do your tutorial request without any problem.

      • Ed Wood

        Great! Thanks Mitch.

  • luke.paul.trevitt

    good stuff.. this is a subject that is really new to me.. keep these tuts coming..

  • G-Phi

    Very useful information! I too have the $32.00 500 watt worklights that I bought from Wal-Mart. I was using tracing paper to diffuse my lights, keeping an eye on it when my lights are on so that it doesn’t burn. The Reynolds Parchment Paper seems like a much better idea, being that it’s made for baking and will resist heat better.

    Very good lighting tips!

  • Loay Emad

    Thank you man
    This is GREAT

  • Chuck_You

    Really good stuff, fellas. I opted for the ground level shop-lights, minus the grids with linen cloth and almost burned the damn house down, lol. The baking paper is genius and I’m sure can be used to defuse the hair light too. I hope you have lighting a basement style green-screen tut queued up. Thanks!!!

    • http://stamphill.com Mitch

      yikes. be careful. an extra $10 for the Home Depot light stands is going to be much cheaper than the insurance deductible for when the house goes up in flames… :P safety first. and while you’re at it, it’s a good idea to have some leather work gloves handy for when you’re handling the hot lights.

      you can definitely use the parchment/baking paper to diffuse pretty much any light source you’d use – even pro lights. play around with it and get to know its characteristics and how it effects the light. you can even double or triple up layers for really soft stuff if you need it – just remember with each layer you put in front of the light you will lose some of your light output.

  • Sean O’Donnell

    Great stuff! I’m just digging in to figuring out lighting for shooting a little web series with the kids, though have to shoot it in HD to watch on the big HD TV set, of course! With shooting HD on my little Canon I can tell plenty of light will be the key. Since no interview style shooting, almost all handheld easy movement stuff, should I concentrate on the fill and background and not worry about the halo effect light?
    Looking forward to your overhead lighting tut, as that will probably answer some of these questions. Like giving good light to two subjects, one inside a room, the other in the doorway and then entering? Do I just make sure to flood the whole space?
    Oh, and where can I look for gels? Are they a local item, or specialty order off the web?
    So, Thanks again, learned some great stuff!
    -Sean

    • http://stamphill.com Mitch

      depending on the nature of your web series, your lighting may greatly vary…

      feel free to give a little more info about what you’re shooting and what you’re trying to accomplish for more accurate assessment and advice.

      if it’s simple kids programming style, you probably just want a lot of soft light. in that case, you’ll want a lot of bounced or diffused light. keep it very soft and you won’t be worrying about too many shadows or hot spots. if you’re shooting all in one direction or behind a certain line, you can keep your lighting behind the camera line and figure out the best way to approach your scene.

      gels can be found at most camera stores that also sell video equipment, almost any music store that sells DJ or stage lighting, or it can be ordered online via big A/V companies like bhphoto.com or even just on ebay. most people can get a way with simple packs of gels that contain primary and secondary colors. there are very specific color packs available, as well… a basic primary pack should probably cost $15 or $20 at the most (but I’m not 100% sure since I haven’t checked that pricing in a while).

      cheers.

  • Sean O’Donnell

    Mitch,

    Shooting conditions and locations will vary greatly. Indoors, almost exclusively during the day with plenty of natural light augmenting through windows, and outdoors in the best natural light possible.

    There will be a fair amount of movement (both character and camera — I’ve been getting decent results with my simple diy steadicam for long tracking shots) so I may track through the entire downstairs of my house, and then right outside. Would I want to have every light on possible, as soft as possible, and with as close to a daylight temperature as I can?

    Would gels help with this outside natural light/inside artificial light combination?

    I like getting reaction shots, so I figure having a stand with those worklights and some parchment paper (awesome idea!) should allow me quick set-ups to light people on opposite sides of a room. Dealing with kids — so quick is the word of the day!

    Outside, should I worry about throwing some extra light on my actors? And would gels be mainly for adding some accent, or for balancing a light scheme back to a more natural look? And should I worry about gels for now, or tackle lighting my subjects first?

    After Effects (I’m learning my way through the labyrinth of CS4) will be the driving force of our series, with the kids playing with magic and getting into mischief, with the program providing the visuals. So, just fun and games, but I want to give it the best production value we can. For aesthetics, but also to teach them the value of building a gameplan and how the little things add up to getting nicer end result.

    Great tuts here, and you’ll probably recognize a few influences in our final cuts! Any ideas you have for me, love to hear them. Thanks, Mitch.
    -Sean

    • http://www.stamphill.com Mitch

      alright, there’s a lot of ground to cover here, so I’ll probably break it up into separate replies…

      depending on the nature of your content your best bet sounds like soft light with minimal shadows might be what you want.

      a few ways to do this:
      – fluorescent bulbs that are frosted for soft light output
      – tungsten light bounced off the ceiling (or bounce cards/walls/etc.) to provide a nice base of ambient light
      – diffused directional light (like the Home Depot lights) or china balls (like suggested by Mike above)

      blue gels for your lights can help balance your indoor/tungsten light with any outdoor daylight that’s coming inside.

      for anyone who needs a quick reminder, daylight is usually rated at 5400 to 5600 kelvin and tungsten/indoor lights are usually rated between 3200 and 3400. the lower your color temperate, the warmer it is (yellows/reds/etc). the higher your color temperate, the cooler it is (blue). so if you have mixed light from inside and outside and want them to balance – it will usually be easier to gel up your lights than to gel the windows to your house or wherever you’re shooting. by putting blue gels on the indoor tungsten lights, it will closer match the cool daylight color temperature of the outside natural light and reduce/resolve that conflict.
      *NOTE – if you’re using daylight balanced fluorescent bulbs, this is not an issue because the light is already daylight balanced and should not require additional gels (unless you’re doing some serious precision color balancing).

  • http://www.stamphill.com Mitch

    I think the same techniques you’ll decide on for your main subject matter should also work for your reaction shots. Once you’ve found the best way to light for the room you’re in, you’ll probably carry that on. Start with your main subjects and go from there.

    as for worrying about the gels, you can always just start with the lights themselves and see how it looks on camera. if the mixed color temperatures between inside and outside light isn’t a huge issue for you, then you may not need it for your specific project.

    for your outside actors, unless it’s being shot at night, you probably won’t need lights… on that note however, you may want something to bounce some key or fill light onto shadow areas of your actors faces. by reflecting your available light, it can be flattering and soft and you don’t have to worry about where to plug in your lights… you could use a reflector, some foamcore, or even just some white posterboard from an art store. *reflectors can be bought at most camera stores or online.

    I think that pretty much covers the questions. good luck with the project and have fun!

    cheers.

    • Sean O’Donnell

      Good stuff, Mitch. Thanks for the input!

      • http://www.stamphill.com Mitch

        no problem. good luck with the project

  • krizZz

    Maan thats awesome! I definately need these great informations to get the best results at the very beginning of a production (recording the videos). PLEEASE share more knowledge of pro lightning scenes : )
    Thank you so much!

  • Lema

    Helpful video, especially for those of us on a budget. Thanks for sharing. For those in the market for lighting options, I have found great options at StageSpot.com. For a more professional look, they have several kinds of spot lamps, and for those just starting out, they have more inexpensive lighting options so you can figure out where you fall on the spectrum and go from there. Hope this helps, best of luck to all!

  • CAZ

    Great, great tutorial. I learned a great deal. I have follow-up questions re: the temperatures of the lights (which was touched on before). Am worried slightly of mixing them (which was also discussed). The hallogens featured here are indoor (about 32k), yes? Hence the gel on the background light.

    What should someone have on-hand at all times in order to be ready to do either one (daylight, 56k) or the other (indoor, 32k)? Gels? Different bulbs? Am I over-thinking this? I think I just need to understand this aspect more… Time permitting, please let me know.

    Also, What kind of light, using the setup in this tut, would you suggest for a fill light?

    Finally, here is a working list, from what I’ve found here, of the basic DIY lighting kit. Would you add/subtract/change anything here? Thanks!

    1.) Hallogen Light Stand (2 x 500-wt bulbs), for KEY
    2.) Cone Light (w/ clamp) w/ 1 x 100 wt bulb for BACKGROUND
    3.) Cone Light (w/ clamp) w/ 1 x 100 wt bulb for HAIR LIGHT
    4.) [Fill light...?]
    5.) Parchment paper for KEY [and fill?] LIGHT
    6.) Yellow gel for BACKGROUND LIGHT
    7.) Reflector board [foamcore, sunscreen, etc.]

    PLUS:
    8.) Extension cords
    9.) Gloves
    10.) Dimmer switch
    11.) Clothes pins

    …Anything else? Chinese lanterns, clothes pins, other gels (??) etc., I assume would be be nice to have on-hand, too, depending on the project.

    Thank you again for this–excellent help! And thanks, too, in advance for this post…

  • Travis Wilber

    Really good stuff guys. Not alot out there that show people the actual effect of each light and explain why its there.

    Another good video by Tony Reale: http://www.youtube.com/watch?v=_vidhFY8kww

  • http://www.zebravideo.ca videographer toronto

    Never try to use parchment paper. Thanks for the hint.