Oh boy, this subject is a college course by itself.

People spend their entire career just setting and staging lights.

It's easy to see if they got it right by simply looking at the scene.

Can you see the lights?

Do the lights in a room seem to be a part of the room or do they seem to be props?

These are points that will make the entire production

seem real or seem like you are watching a movie.

Let's face it, you go to the movies to be entertained,

not to notice that you are watching a movie.

You have to get into the scene, to be a part of the action.

That's what good lighting conveys,  

- the feeling of being there.

So, what light do you bring to a shoot?

Well, you could bring everything,

this way the client really feels that they are getting their monies worth,

but you have to carry all those lights which can weight a lot.

Or, you can just bring what's needed

(that's the way I do it)

Ok, What types of lights do I carry. 

On the camera

The Anton/Bauer ULTRALIGHT is the first and only camera mounted light

designed specifically to work with any available light to create truly studio quality images.

Virtually all interior locations are lit totally from above

which creates objectionable shadows on the foreground subjects

making it impossible to achieve professional quality video.

Studio lighting, on the other hand, is a careful blend of light from above

and light from the front that eliminates these shadows.

The unique and innovative design features of the Ultralight

create studio quality images under virtually all available light conditions.

Equally impressive to the cameraman, the Ultralight

achieves this vast improvement in visual quality

without adding any perceptible weight, bulk, or external cables.

All of my cameras are equipped with these on camera lights

On the set or in the studio

Arri 650W Fresnel

We have 300W bulbs if you don't need 650W (tell us what you need)

The beam angle in the flood position is 52 degrees, and a narrow 14.5 degrees in the spot position.

When you need to light the scene, these lamps do the job.

We've added Barndoors (see below) to aim your light just where you want it.

Soft Box by Westcott

The Westcott Box is made of quality fabrics, new and improved heat resistant fabric

and is available with a silver or white interior. The fitted collar is also made of heat retardant material.

 Rods are now sprung stainless steel - no fiberglass to break.

The inner baffle and outside diffusion panels are both removable.

Soft boxes are a lifesaver. 

I found myself in a hotel room that was converted for interviews.

The Hotel staff took out the King sized bed so we could use the space

 (and save $1,000.00 a day in room rentals for a "Meeting Room")

Hotel rooms have lots of areas that will reflect light, windows, mirrors come

to mind. Substituting a pair of soft boxes for regular cans

kept the glare off of the glasses being worn by the people being interviewed. 

V-Light - Broad Throw   750 watt

these lights have what are called umbrellas on them to defuse and soften the light

I have recently added my "I Need LIGHT" kit

This includes a quartet of 500 watt halogen open face lights.

They are mounted in pairs so I can change the spread as needed or go from a spot to a flood.

These lights are being used for my large Green Screen Kit and have proved very successful.

The stands get up to eight feet and the lights can be removed and flown to any height I need.

When ever possible, I go to the shoot site a day or so early at the approximate time of the shoot

to see what the natural light of the room looks like. I take a light meter and take readings.

This way, I'm ready for the shoot. Of course, the best laid plans seem to bite you when you least expect them to,

 so I always bring a few extra lights just in case.  I'd rather not use them than not have them.

Give me a call at 1-847-681-8605

to discuss your needs for your shoot.

If you don't know what you need, call me and we'll talk about your needs.

Then, I'll come over to you and look the room over.