Comments on: Lighting Basics Series I: Where to place your KEY LIGHT http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/ Create | Innovate | Educate Wed, 22 May 2013 02:32:14 +0200 hourly 1 http://wordpress.org/?v=3.4.2 By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-60130 Shane Thu, 04 Apr 2013 04:51:43 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-60130 Andrew Gooi. Thank you for the kind words and support. Andrew Gooi. Thank you for the kind words and support.

]]> By: Andrew Gooi http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-58444 Andrew Gooi Mon, 18 Mar 2013 14:23:17 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-58444 What an insight - Shane, thanks for helping us laymen understand the magic behind shots like these! Starting on a feature next month and have learned so much from your posts. They are greatly appreciated! What an insight – Shane, thanks for helping us laymen understand the magic behind shots like these!

Starting on a feature next month and have learned so much from your posts. They are greatly appreciated!

]]> By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-44902 Shane Sun, 09 Dec 2012 23:03:05 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-44902 Carlos Diaz, you are very welcome. Thank you for your support of our blog Carlos Diaz, you are very welcome. Thank you for your support of our blog

]]> By: Carlos Diaz http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-44052 Carlos Diaz Sat, 08 Dec 2012 23:35:57 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-44052 You are the best Shane ,thanks for sharing with us,i feel so inspired to be a cinematographer now more than ever!! You are the best Shane ,thanks for sharing with us,i feel so inspired to be a cinematographer now more than ever!!

]]> By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-20903 Shane Fri, 02 Nov 2012 19:40:10 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-20903 Manoj Narula, thank you for the support and kind words Manoj Narula, thank you for the support and kind words

]]> By: Manoj Narula http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-20002 Manoj Narula Sun, 28 Oct 2012 17:21:59 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-20002 Thanks , Great Help!! Thanks , Great Help!!

]]> By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-9164 Shane Fri, 13 Apr 2012 16:42:51 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-9164 Jonny Franklin, You want to shoot with your ALexa at around a 2.8, this will give you the shallow depth of field and make it look cinematic. The fire light could be around a 2.8, then your moon light should be about 2-3 stops under exposed if it is a backlight or edge light. If it is fill light then 5 stops under. The lightning should be at least 4 to 5 stops over, so that it gives a huge punch in there, then your bounce lightning could be just on exposure maybe. Make sure you look at the shutter angle of you Alexa because when using Lighting it tends to create bands of lightning across your image, like just a third of the rolling shutter will see the effect. When using the Lightning strike strobes make sure you are on fast undulate. I created this system back in my younger years for lightning strikes, this fast undulating function that I created makes the lightning feel real and also helps with the rolling shutter issue. Jonny Franklin, You want to shoot with your ALexa at around a 2.8, this will give you the shallow depth of field and make it look cinematic. The fire light could be around a 2.8, then your moon light should be about 2-3 stops under exposed if it is a backlight or edge light. If it is fill light then 5 stops under. The lightning should be at least 4 to 5 stops over, so that it gives a huge punch in there, then your bounce lightning could be just on exposure maybe. Make sure you look at the shutter angle of you Alexa because when using Lighting it tends to create bands of lightning across your image, like just a third of the rolling shutter will see the effect. When using the Lightning strike strobes make sure you are on fast undulate. I created this system back in my younger years for lightning strikes, this fast undulating function that I created makes the lightning feel real and also helps with the rolling shutter issue.

]]> By: Jonny Franklin http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-9147 Jonny Franklin Fri, 13 Apr 2012 16:10:37 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-9147 Hi Shane, I have started building the Medusa, it is coming along quite nicely. Just a quick question, when dealing with a lightning effect. I am effectively using the lighting as my key light and the moon light as a fill in between the lightning flashes. I am currently thinking that I would have my fill at around 750FC and my lightning at 1410FC which would mean I when shooting on the Alexa 800ASA with a 0.3ND I would be at around F8 so that my lighting would not be over exposed, and in between my lighting my lighting would hover between F4 and F5.6, this would give me a more striking image. My question is, when you use have used a lightning effect in the past, how many stops difference would you have between your lightning and your fill light? Hi Shane, I have started building the Medusa, it is coming along quite nicely. Just a quick question, when dealing with a lightning effect. I am effectively using the lighting as my key light and the moon light as a fill in between the lightning flashes.

I am currently thinking that I would have my fill at around 750FC and my lightning at 1410FC which would mean I when shooting on the Alexa 800ASA with a 0.3ND I would be at around F8 so that my lighting would not be over exposed, and in between my lighting my lighting would hover between F4 and F5.6, this would give me a more striking image.

My question is, when you use have used a lightning effect in the past, how many stops difference would you have between your lightning and your fill light?

]]> By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-7332 Shane Wed, 04 Apr 2012 17:43:14 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-7332 Jonny Franklin, I would go with whatever you have that looks like a 211,212,213. Then absolutely mix them up, that is what a fire feels like some hotter areas then others. Make sure they are not spots but soft 360 degrees of illumination. That is great you found the Rosco Colorine, you will be very happy with that. I still have bulbs dyed from 2004 that still work. Jonny Franklin, I would go with whatever you have that looks like a 211,212,213. Then absolutely mix them up, that is what a fire feels like some hotter areas then others. Make sure they are not spots but soft 360 degrees of illumination. That is great you found the Rosco Colorine, you will be very happy with that. I still have bulbs dyed from 2004 that still work.

]]> By: Jonny Franklin http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-7302 Jonny Franklin Wed, 04 Apr 2012 14:59:55 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-7302 Hi Shane, no we don't seem to have the 211, 212, 213 like you suggested in the UK, I googled them in the US and it seems to be coming up with 75W, 150W, 250W projector bulbs. Do these sound right to you. When you created your Medusa, did you use bulbs with a variation of Wattage or did you just use one Wattage and coat them with different thicknesses of the Rosco Colorine? The Rosco Colorine has actually been discontinued in the UK but I luckily managed to get the last couple of bottles from Rosco. Im looking into the photometric data as we speak, I might have to go with the T12K as you said and scrim it down if I need to. Now I have the task of convincing production I need 2 Lighting Strikes, which will be a fun conversation! Hi Shane, no we don’t seem to have the 211, 212, 213 like you suggested in the UK, I googled them in the US and it seems to be coming up with 75W, 150W, 250W projector bulbs. Do these sound right to you. When you created your Medusa, did you use bulbs with a variation of Wattage or did you just use one Wattage and coat them with different thicknesses of the Rosco Colorine?
The Rosco Colorine has actually been discontinued in the UK but I luckily managed to get the last couple of bottles from Rosco.
Im looking into the photometric data as we speak, I might have to go with the T12K as you said and scrim it down if I need to. Now I have the task of convincing production I need 2 Lighting Strikes, which will be a fun conversation!

]]> By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-7128 Shane Tue, 03 Apr 2012 21:41:53 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-7128 Jonny Franklin, You are very welcome, what is the distance to the window? That is something you should look at a photometric chart to see if the 5K will be enough. Maybe a T12K will be the best, you can always scrim it down. The bulbs could be household 220volt, do you guys have 220 volt 211, 212, 213 like in the states? I would use a household socket and dip those globes in the Rosco gel concoction. Hopefully by going with Tungsten you will save the money for the other Lightning Strike. Jonny Franklin, You are very welcome, what is the distance to the window? That is something you should look at a photometric chart to see if the 5K will be enough. Maybe a T12K will be the best, you can always scrim it down. The bulbs could be household 220volt, do you guys have 220 volt 211, 212, 213 like in the states? I would use a household socket and dip those globes in the Rosco gel concoction. Hopefully by going with Tungsten you will save the money for the other Lightning Strike.

]]> By: Jonny Franklin http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-7072 Jonny Franklin Tue, 03 Apr 2012 15:57:36 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-7072 Hi Shane, first of all thank you for the response and all of the great advice you have given me. I like your method of using Tungsten lights with 1/4 CTB on them to recreate the moons source. If I were to go down this route would you advise that I also use a Tungsten source for the main large window, something like a Arri 5K or 12K to keep continuity? I will certainly try and get 2 Lightning Strikes, I will just have to see if the budget allows for it. I really like your Medusa light (Great Name!), in the UK they seem to be either 5W peanut bulbs (12V) or LED's. Do you remember the sort of Wattage the ones you used on the 'Greatest Game Ever Played' were? Once again, thanks for all of your advice Shane, not many DOP's spend the time and also give away their secrets like you do, you are an invaluable source to all aspiring cinematographers. Ill let you know how the film goes! Hi Shane, first of all thank you for the response and all of the great advice you have given me. I like your method of using Tungsten lights with 1/4 CTB on them to recreate the moons source. If I were to go down this route would you advise that I also use a Tungsten source for the main large window, something like a Arri 5K or 12K to keep continuity? I will certainly try and get 2 Lightning Strikes, I will just have to see if the budget allows for it.
I really like your Medusa light (Great Name!), in the UK they seem to be either 5W peanut bulbs (12V) or LED’s. Do you remember the sort of Wattage the ones you used on the ‘Greatest Game Ever Played’ were?
Once again, thanks for all of your advice Shane, not many DOP’s spend the time and also give away their secrets like you do, you are an invaluable source to all aspiring cinematographers.
Ill let you know how the film goes!

]]> By: Shane http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-6786 Shane Mon, 02 Apr 2012 02:03:03 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-6786 Jonny Franklin, got it, yes I can help, thanks for posting the question on the blog. The room with the window, you will have to make sure that you put that light on a high condor so that your moonlight is high enough and looks realistic. Pars do not give hard shadows, go with a 18K fresnel, probably Arri over or a Superlight LTM 18K, they give the hardest shadows. Pars will give you multiple shadows and not look good. This might be overkill a 4k Fresnel might be bright enough. The lightning strike is a great idea. I love those units, from that distance I would use a 70K, then use a 40K inside and bounce it off of a 12x or an 8x Ultra bounce, so it echos other lightning thru other windows that the audience doesn't see. This will give you a shutter effect and make sure you put the controller on undulating. That gives you the best lightning effect. Yes put up some blacks to heightened your contrast, but try to embrace this feel. Play it very dark, so when the lightning hits it has a punch and a reason. Room two, use as much blackout as you can to bring you level's down. In general your moonlight should be grey not blue. I never use HMI's for moonlight. I use tungsten lights with 1/4 CTB on them. Moonlight is a grey source, not a blue one. You can save cash that way as well. Off the track, back on, The fire light I think you should build one of my favorite fire lights and it is cheap as shit. Go out and buy goose neck lamps and pull the hoods off of them, mount like 12 on a board. Go to Rosco and buy the bulb dipping solution. You can actually dip bulbs so that they are full cts r half cts, it is very cool, swing those heads all over the place on the board. What is a fire? Multiple sources from all over that add up to fire light. I call it the Medusa. The hook it up to 2 Magic Gadget shadow makers that have 3 inputs. This will work like a million bucks. I did this effect on the Greatest Game Ever Played. I hope this helps, good luck. Jonny Franklin, got it, yes I can help, thanks for posting the question on the blog. The room with the window, you will have to make sure that you put that light on a high condor so that your moonlight is high enough and looks realistic. Pars do not give hard shadows, go with a 18K fresnel, probably Arri over or a Superlight LTM 18K, they give the hardest shadows. Pars will give you multiple shadows and not look good. This might be overkill a 4k Fresnel might be bright enough. The lightning strike is a great idea. I love those units, from that distance I would use a 70K, then use a 40K inside and bounce it off of a 12x or an 8x Ultra bounce, so it echos other lightning thru other windows that the audience doesn’t see. This will give you a shutter effect and make sure you put the controller on undulating. That gives you the best lightning effect. Yes put up some blacks to heightened your contrast, but try to embrace this feel. Play it very dark, so when the lightning hits it has a punch and a reason.

Room two, use as much blackout as you can to bring you level’s down. In general your moonlight should be grey not blue. I never use HMI’s for moonlight. I use tungsten lights with 1/4 CTB on them. Moonlight is a grey source, not a blue one. You can save cash that way as well. Off the track, back on, The fire light I think you should build one of my favorite fire lights and it is cheap as shit. Go out and buy goose neck lamps and pull the hoods off of them, mount like 12 on a board. Go to Rosco and buy the bulb dipping solution. You can actually dip bulbs so that they are full cts r half cts, it is very cool, swing those heads all over the place on the board. What is a fire? Multiple sources from all over that add up to fire light. I call it the Medusa. The hook it up to 2 Magic Gadget shadow makers that have 3 inputs. This will work like a million bucks. I did this effect on the Greatest Game Ever Played. I hope this helps, good luck.

]]> By: Jonny Franklin http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-6177 Jonny Franklin Thu, 29 Mar 2012 21:36:33 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-6177 Hi Shane, I would like some advice on a short film I have coming up. I have been filming a no-budget horror series www.bloodycuts.co.uk, I am managing to to borrow kit and get favors to film these. We are coming up to filming of 5th episode. Which I have imagined will look along the lines of something like Edward Scissorhands/Women in Black/Nosferatu type movie. Lots of harsh shadows and blue colours very 'gothic'. There are 2 scenes I need help with because of the restrictions of the location, I imagine the scene to be lit essentially by moonlight or fire in most cases. This is where your expertise really comes in! I have good relationships with camera rental companies and lighting companies, that usually support me and give me equipment for free. I feel this movie might push those boundaries. I have been shooting on 5D/7D or most recently the Epic, but I felt because of the lighting and the low light the cameras might not hold up well because of their rolling shutter. I felt the Alexa might be the best camera to use because of its global shutter and low light capabilities? I will also be using Super Speeds The location is a castle with a moat that is about 16 foot wide and filled with water. The water goes right up to the wall of the castle. So there are 2 rooms that are causing me the most issues. The 1st is there is a shot on a stairwell, there is only one window which is very large, on the exterior of this window there is the moat filled with water. Because of this, I feel that I am left with only one option providing I can convince the lighting company to give me the lights and a generator. This would be to put and 18K PAR HMI outside, this would hopefully give me enough power from the distance I am restricted to and also because I would be using a PAR I would get the hard shadows that I require. I would then if I can get it either use a 15KW Hungaro Flash or a 40KW Lightning Strike placed in a similar possition as the 18K PAT for the lighting effect. The scene is meant to be at night, but because of the size and the location of the window, I have now way of blacking it out, so I have requested to shoot this part at night. I would have liked to use smaller light units to avoid the larger lights and generator, but because of the moat and the size of the window I am struggling to think of other ways to go about it to get the desired effects. Another issue is that the walls surround the staircase are all white, which I can change, so I might have to put up Blackout drapes out of shot to try and control the bounce. Do you think this is the right way to go about this situation? The second area, the Living Room is not so bad as I can light from the ground using smaller lamps, again my main issue is the white walls. I could potentially stop down a lot to really darken the room, then use 3 x 2.5KW HMI PAR's on outside of the house through the 3 windows. Then the only other source of light in the living room is a fire, I though that maybe put 3 or 4 Lowel 800w Tota-lights that are on a series of flicker generators to replicate fire. I would then use a mixture of small units like 2ft4 Bank Tungsten Kinos, and a few small Tungsten heads if I needed to add any more light for any close up work. How does this sound to you Shane, am going along the right lines or am I completely off the mark? Thanks Jonny Hi Shane,

I would like some advice on a short film I have coming up.

I have been filming a no-budget horror series http://www.bloodycuts.co.uk, I am managing to to borrow kit and get favors to film these.

We are coming up to filming of 5th episode. Which I have imagined will look along the lines of something like Edward Scissorhands/Women in Black/Nosferatu type movie. Lots of harsh shadows and blue colours very ‘gothic’.

There are 2 scenes I need help with because of the restrictions of the location, I imagine the scene to be lit essentially by moonlight or fire in most cases. This is where your expertise really comes in!

I have good relationships with camera rental companies and lighting companies, that usually support me and give me equipment for free. I feel this movie might push those boundaries.

I have been shooting on 5D/7D or most recently the Epic, but I felt because of the lighting and the low light the cameras might not hold up well because of their rolling shutter. I felt the Alexa might be the best camera to use because of its global shutter and low light capabilities? I will also be using Super Speeds

The location is a castle with a moat that is about 16 foot wide and filled with water. The water goes right up to the wall of the castle.

So there are 2 rooms that are causing me the most issues. The 1st is there is a shot on a stairwell, there is only one window which is very large, on the exterior of this window there is the moat filled with water.

Because of this, I feel that I am left with only one option providing I can convince the lighting company to give me the lights and a generator. This would be to put and 18K PAR HMI outside, this would hopefully give me enough power from the distance I am restricted to and also because I would be using a PAR I would get the hard shadows that I require.

I would then if I can get it either use a 15KW Hungaro Flash or a 40KW Lightning Strike placed in a similar possition as the 18K PAT for the lighting effect.

The scene is meant to be at night, but because of the size and the location of the window, I have now way of blacking it out, so I have requested to shoot this part at night.

I would have liked to use smaller light units to avoid the larger lights and generator, but because of the moat and the size of the window I am struggling to think of other ways to go about it to get the desired effects.

Another issue is that the walls surround the staircase are all white, which I can change, so I might have to put up Blackout drapes out of shot to try and control the bounce.

Do you think this is the right way to go about this situation?

The second area, the Living Room is not so bad as I can light from the ground using smaller lamps, again my main issue is the white walls. I could potentially stop down a lot to really darken the room, then use 3 x 2.5KW HMI PAR’s on outside of the house through the 3 windows. Then the only other source of light in the living room is a fire, I though that maybe put 3 or 4 Lowel 800w Tota-lights that are on a series of flicker generators to replicate fire. I would then use a mixture of small units like 2ft4 Bank Tungsten Kinos, and a few small Tungsten heads if I needed to add any more light for any close up work.

How does this sound to you Shane, am going along the right lines or am I completely off the mark?

Thanks

Jonny

]]> By: Medea http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-4510 Medea Sat, 18 Feb 2012 16:28:30 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-4510 The video is no longer available, Vimeo says that is a private video content, could you be so nice to cut again the restriction? :))) I'll be delihted to see it if you could do that. :)) thank you again The video is no longer available, Vimeo says that is a private video content,
could you be so nice to cut again the restriction? :)))
I’ll be delihted to see it if you could do that.

:)) thank you again

]]> By: Lighting needs http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-4509 Lighting needs Sat, 07 Jan 2012 21:08:18 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-4509 <strong>Lighting needs...</strong> [...]Lighting Basics Series I: Where to place your KEY LIGHT | Hurlbut Visuals[...]... Lighting needs…

[...]Lighting Basics Series I: Where to place your KEY LIGHT | Hurlbut Visuals[...]…

]]> By: For a different kind of filmmaking blog | Arnar Sigurðsson http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-4508 For a different kind of filmmaking blog | Arnar Sigurðsson Thu, 05 Jan 2012 03:42:15 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-4508 [...] Video tutorial on the effects of the direction of your keylight from Light Film school Lighting Basics Series I: Where to place your KEY LIGHT Hotshot cinematographer Shane Hurlburt on a similar theme 180 Degree Rule and Other Shot Sequence [...] [...] Video tutorial on the effects of the direction of your keylight from Light Film school Lighting Basics Series I: Where to place your KEY LIGHT Hotshot cinematographer Shane Hurlburt on a similar theme 180 Degree Rule and Other Shot Sequence [...]

]]> By: Where to place your Key Light « Cinema House http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-4507 Where to place your Key Light « Cinema House Sun, 01 Jan 2012 23:18:48 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-4507 [...] problem on the film set: where are you supposed to place your key light? Cinematographer Shane Hurlbut walks us through his thought process in his film, The Greatest Game Ever Played. Once we decided [...] [...] problem on the film set: where are you supposed to place your key light? Cinematographer Shane Hurlbut walks us through his thought process in his film, The Greatest Game Ever Played. Once we decided [...]

]]> By: Matthew http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-4506 Matthew Tue, 22 Nov 2011 10:13:58 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-4506 Hi! Have to say, I love your work on this film. Stands out as one of my favorites, acting, directing, awsome, but the lighting and shots really make the piece! So cool to see your blog, coming across this is a huge highlight for a noob like me. Hi! Have to say, I love your work on this film. Stands out as one of my favorites, acting, directing, awsome, but the lighting and shots really make the piece! So cool to see your blog, coming across this is a huge highlight for a noob like me.

]]> By: laughingcrows http://www.hurlbutvisuals.com/blog/2011/07/lighting-basics-series-i-where-to-place-your-key-light/comment-page-1/#comment-4505 laughingcrows Tue, 08 Nov 2011 21:37:55 +0000 http://www.hurlbutvisuals.com/blog/?p=4643#comment-4505 Most helpful. Thank you so much. Can't wait to read more on lighting. (ps: Where are you on these new, small, portable LED lights? Just got a couple of these. I love 'em.) http://www.amazon.com/HDV-Z96-LED-Photo-Video-Light/dp/B003UCGDSS/ref=wl_it_dp_o_npd?ie=UTF8&coliid=I3NE8QSBAM7JB1&colid=3TFYFX4EH8GBL Most helpful. Thank you so much. Can’t wait to read more on lighting.

(ps:
Where are you on these new, small, portable LED lights?
Just got a couple of these. I love ‘em.)
http://www.amazon.com/HDV-Z96-LED-Photo-Video-Light/dp/B003UCGDSS/ref=wl_it_dp_o_npd?ie=UTF8&coliid=I3NE8QSBAM7JB1&colid=3TFYFX4EH8GBL

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