Tired of using our On camera lighting for weddings, so we are thinking of purchasing some Steve Kaeser DV continuous lighting kit with stands and soft boxes..anyone tried this product ? your input is appreciated

I have a set and while they are great lights IMO they would be overkill for a wedding reception.
I can't say how it is in your area but around here the lights get turned down and that's how the B&G want it. Ambience you know ;-) Dark is what it is and sometimes dangeous. People can't see and trip on things, their own feet for instance. Add some liquor to the mix and it gets real scary sometimes. Point is if the lights are down and you've got 2 or 3 500 watt lights running the B&G might want them off. You know, killing the ambience.
Anyway maybe you can rig the onboard light to be off the camera slightly.
Oh yeah, liability. If someone WERE to trip over or knock over one of the lights, well, I would hope you have a good liability policy.
Just my opinion, YMMV.

I'm looking at these, however don't know if I should order.
800W Continuous Red Head Halogen Light (220V) (http://www.linkdelight.com/index.php/Continuous-Lights/800W-Continuous-Red-Head-Halogen-Light-220V/Detailed-product-flyer.html)

Used one of my VL-1000's with softbox today for an interview. The ability to turn down the brightness is awesome and the overall light was very even and soft. For the price I'm very happy. The only negative was the fan is a bit noisy for my taste but bringing the vid back to my studio to listen, the noise wasn't an issue through the lav mic. $450 for three 1k lights with softboxes is a pretty good deal and I plan to add a few other types of fixtures of his in the near future!

Steve Kaeser Backgrounds & Accessories (http://www.skaeser.com/servlet/the-542/3000-WATT-CONTINUOUS-QUARTZ/Detail)

Tired of using our On camera lighting for weddings, so we are thinking of purchasing some Steve Kaeser DV continuous lighting kit with stands and soft boxes..anyone tried this product ? your input is appreciated

Hi Kren,

The light kit you linked to may be a good solution for in studio lighting, but I don't see it as a good solution for adding lights at a wedding reception. We use lights on stands at the wedding reception, but they are battery operated and are only 75 watts. They add just enough light for the cameras, but not so much light that it ruins the atmosphere.

I am actually getting ready to do the next Von Real episode for EventDV-TV about the off camera lighting we use, but until that episode comes out, you can see the lights here.
The Wireless Wedding Reception Video Light - HOME (http://www.receptionlight.com/)

Used one of my VL-1000's with softbox today for an interview. The ability to turn down the brightness is awesome and the overall light was very even and soft. For the price I'm very happy. The only negative was the fan is a bit noisy for my taste but bringing the vid back to my studio to listen, the noise wasn't an issue through the lav mic. $450 for three 1k lights with softboxes is a pretty good deal and I plan to add a few other types of fixtures of his in the near future!

Steve Kaeser Backgrounds & Accessories (http://www.skaeser.com/servlet/the-542/3000-WATT-CONTINUOUS-QUARTZ/Detail)

I would love to see some screen grabs. I'm considering his kit just for interviewing lighting alone! How loud would you say the fans are? It'd be a shame to have the audio spoiled due to the fans.

Thanks

Do ya one better...go to my website www.yipdogstudios.com and click the "client area" tab. It's the 3rd video down.
Just a short clip 1st part as from the camera, 2nd a small color tweak in FCP, and 3rd a bit of dead space so you can hear the noise from the fan. As mentioned, I'm pretty happy with the whole thing. Also, this was shot on my HMC 150 1080 60i. Mic is a Sennheiser ME2 on a EW100 G2 wireless.
This is one light with the softbox about 8' from talent and 6' high.
Hope this helps!

Arri 650 with barn doors.

We use dedolights 150 watt dimmable DL4H Tungsten head, fully zoomable/ focusable with DBD8 8 leaf barn doors.
Don't keep it on all through reception obviously don't want to take away from "the atmosphere" We mainly use it for speeches, first dance, cutting of the cake etc...

Highly recommend it takes your reception footage to another level.

Do ya one better...go to my website www.yipdogstudios.com and click the "client area" tab. It's the 3rd video down.
Just a short clip 1st part as from the camera, 2nd a small color tweak in FCP, and 3rd a bit of dead space so you can hear the noise from the fan. As mentioned, I'm pretty happy with the whole thing. Also, this was shot on my HMC 150 1080 60i. Mic is a Sennheiser ME2 on a EW100 G2 wireless.
This is one light with the softbox about 8' from talent and 6' high.
Hope this helps!

Hi Robert,

Looks great! A bit too loud for my taste though :/. I'll probably look for a softbox solution for my Arri 650s.

Appreciate the video :).

-Randy

no problem!
I'm going to look into some smaller non-fan lights for interviews but the 1k's will fit in a lot of situations where the sound doesn't matter. And this interview was designed to have music behind it anyway so noise was moot!

pair of 650watt tungstens with barndoors and cheapo $15 dimmers from harbor
freight tools on 12ft stands. they have saved my arse on some shoots this season.

The Wireless Wedding Reception Video Light - HOME (http://www.receptionlight.com/)


Love these! Set up in no time at all, are stable and portable and the photographers love what they add to their images too. They are high enough not to be obtrusive and the light has a focused, specular look to it that I like. The best part is that when they go from off to on its not a huge change in the ambiance of the room. I know that you, Mark and Trisha, use a dimmer on your AC lights. I'd love that option for the wireless DC lights. It would make the transition even more unnoticeable.

Take a look at Cool Lights.

They have a 256watt LED light that can run for 3 hours on a Sony camcorder battery.

They are ultra portable and come in 3200k or 5600k.

Could be taken outside for shadow fill very easily.

Tim this is what we are using now in place of the 75w Receptionlights that we used to use.
They work great. Easily powerful enough to use and are dimmable as well.

You can power them any way you like AC/DC. We are using them with the Sony NP970 batteries. But if you still wanted to use the Receptionlight remote control you could use external XLR power (we have used large Bescor battery belts) and then you can turn on/off the lights when ever you like.

We generally run the lights (Two, LED256 5600k with 3200k filter) all reception long and only power off during dinner, do the remote control feature isn't a huge deal for use, as we power the lights on before the start of the reception, and manually turn the lights off during dinner and back on after dinner.

CL-LED256 256 LED Spot - Cool Lights USA (http://www.coollights.biz/clled256-spot-p-126.html)

A great thing about an off camera light is that you can move it anywhere at a moments notice. We'll use one of the lights for the cake cutting (or filming of cake) as well as move them for the bouquet toss and such (aim one light at bride/groom, and one light at the guests receiving the toss).

The only thing that I would love to see in the LED256 is being able to have remote control ability while using the built in self power of a battery. I talked to Richard (the developer) a few weeks back and he mentioned that is something that this is something that is definitely doable, and might very well develop in the future.

This would rock and I think be a huge seller for event shooters.

The images from off camera lighting would be a lot better than the flashlight look of on-camera, but I would be concerned about having the light stands out where folks are crowding around.

Just seems like an assitant would be needed to stand at the light stand just to keep them from being knocked over.

Tim simply place the stands near the PA speakers, which are generally near the dance floor anyway.
Placement with weight at the base of the light stand, makes for a very slim chance of guests knocking into them.

What about cutting the cake?

What about cutting the cake?

Tim, I simply move one of the lights over to the cake area.
I usually will place it near me, in front of where the couple will be cutting their cake. This is usually right in the area where I will be standing anyway (about 35-45 degrees from my right). So again, since guests aren't next to me, there is little risk of guests hitting it.

Also, the light doesn't have to be right on top of the area where they are cutting the cake. Since everyone stands around the cake while it's being cut, the light can easily be 10-15 feet away and focused from up high so as to not annoy guests or subjects.

All in all I have yet to even have a close call with a light being knocked over or run into.
Now I have had a drunk or two fall onto my second camera persons tripod.

Funny how a camera on a tripod seems to be more of a magnet for drunks to fall into. Guess it's Murphy's Law, that a drunk would have greater chance of falling into a camera setup is much more expensive to replace than a simple light. =)

Of course, they have to hit the camera.

Lights on a stand is a great approach. I don't do many weddings anymore but I agree, this would be the best way to approach it.

We generally run the lights (Two, LED256 5600k with 3200k filter) all reception long and only power off during dinner, do the remote control feature isn't a huge deal for use, as we power the lights on before the start of the reception, and manually turn the lights off during dinner and back on after dinner.

CL-LED256 256 LED Spot - Cool Lights USA (http://www.coollights.biz/clled256-spot-p-126.html)



anybody knows how this cool light compare to sony hvl lbp?

Thanks

Santo

It's much more powerful than the Sony HVL-LBP light. But then again so is the similar Comer 1800.

But keep in ind that the LED256 is NOT an on camera light. It's much too large to be used in this manner. For off camera uses like I discussed for wedding reception use, it can work very well.

If you want an camera light to replace the Sony HVL then get the Comer1800. It's identical to the Sony HVL light (Comer makes the light for Sony), but it's much more powerful adn even takes non Sony generic batteries.

It's much more powerful than the Sony HVL-LBP light. But then again so is the similar Comer 1800.

But keep in ind that the LED256 is NOT an on camera light. It's much too large to be used in this manner. For off camera uses like I discussed for wedding reception use, it can work very well.

If you want an camera light to replace the Sony HVL then get the Comer1800. It's identical to the Sony HVL light (Comer makes the light for Sony), but it's much more powerful adn even takes non Sony generic batteries.

I understand that its not an on camera light. but I just wanna make sure that its brighter than the hvl because that's the brightest battery operated light I have at the moment. I'm very interested with the LED600 but the vlock battery will be another expense.. I want something that will light the dancefloor nicely without the hassle of cable..

Santo

A couple of LED256s should work just fine.
An LED600, while would work, would be too bright in intensity to be used at a reception.

In order to get the proper intensity and throw-ability, LED lights are much brighter in intensity (when looked at). An LED600 would be just too large a block of light and stand out much too much for a reception. It's great for studio or filed use, but not at a function such as a wedding reception. Trust me I wish this wasn't the case.

Use a couple of LED256s on light stands on opposite sides of the dance floor, either parallel or diagonal, and you woudl get a nice deep image of light to the dance floor. Also since they are apart from each other they won;t be as much of a distraction as it you had one large light source like the LED600, or two LED256's next to each other.

While these light are up about 10-12 feet on a light stand and out of the guests line of sight, the lights will still produce a ton of intensity and be more of an eye sore and maybe disrupt the mood of the event. So I woudl urge against using large light sources for weddings, but smaller sources such as the LED256 apart form each other, would give you a more punch to your overall image.

Although you still might want to use an on camera light for fill, when going handheld.

BTW, sell that HVL light and get a Comer1800. You will be overjoyed that you did.

Michael - I would be interested in hearing what made you to switch?

I switched from the Sony HVL-LBP light to the Comer1800 for a few simple reasons.

1. Comer 1800 is the same exact build as the Sony HVL light (Comer makes the lights for Sony)
2.The Comer 1800 is much stronger then the Sony HVL light
3. Comer 1800 will take ANY Sony style NP batteries (Sony or Generic). The Sony HVL light will only take Sony NP batteries (no Generics).
4. Comer 1800 has built in flip down 3200k filter on the diffuser
5. Comer 1800's LEDs are balanced to 4500k, which balances nicely in mixed daylight/tungsten lighting. It also works well outdoors or indoors. The Sony LED light is 5400k daylight and has to be filtered for indoor use.

Oh and the big one is the Comer 1800 is about $150 cheaper in price to boot.
Comer CM-LBPS1800 On-Camera LED Light (http://lacolorshop.com/products/item.asp?id=cm1800)
All in all it's a no brainer, as for me, it's been a superior light in every way.

Michael - I would be interested in hearing what made you to switch?

I switched from the Sony HVL-LBP light to the Comer1800 for a few simple reasons.
Thanks Michael. I was already sold on comer but you have articulated the reasons very well.
I meant to ask about your switch from wireless reception lights to LED256 - (for some reason there was no quote button on your posting to make it clear).

Also I understand that some use Comer1800 for off the camera reception light. Any reason why this would not be a good solution?

Andrew

Woops sorry Andrew.

I meant to ask about your switch from wireless reception lights to LED256 - (for some reason there was no quote button on your posting to make it clear).

I am using the LED256 in a Reception light setup, when possible.
If I use onboard power (Sony NP style batteries), then I simply use them as is, turn the light on manually and set dimmer to appropriate level and run all night, except during dinner where I am turning them off.

If I decide to power the lights via battery belt, as I normally do, then I can use the same Reception Light setup, as the remote works just fine in this configuration.
The reason that I can use the remotes via external power is that the remote receiver sits between the battery and the light. So it simply terminates the power on/off when the remote is pushed. If you were to use a remote control via self power, then the circuitry has to be setup inside the light.
After talking with me, Richard at Cool Lights, said that this is entirely possible to do, and that they might very well built this functionality into later versions. But in the meantime, if I use onboard power, I self power on/off. If I use remote power, then I use the Receptionlight setup.

Either way is no big deal, but the remote is easier. Each shoot dictates how much I will bring with me, as it's much heavier to transport 40 lbs. of batteries. =(


Also I understand that some use Comer1800 for off the camera reception light. Any reason why this would not be a good solution?

I could use the Comer lights if I preferred. But, the output of the LED256 lights are more powerful and has a little broader spread (even being spot configured). And if needed, I find it easier to use a Receptionlight setup (remote control).

Also, I prefer to use the Comer lights for on camera use, to give me added umph at a moments notice.
The LED256 is an off camera light only, much too large for on camera use. And that's saying a lot since the Comer light is such a large light in itself.

Either light will work for off camera use, but you might have to string two Comer lights together to get the output of one LED256.
Keep in mind though that these are accent lights meant to add a little light where none, or not much is present. And that either light will be very noticeable, as LED lights are brighter in intensity than Tungsten lighting. So make sure that they are up (9-11 feet) and out of the line of sight of guests, especially for the LED256, which is bright.

Michael do you have any example footage from a reception using the 256 LED's?

Hi Michael, any screen grabs of what it is like with 2 256LEDs in the reception?

Michael do you have any example footage from a reception using the 256 LED's?
Andy, I don't have any footage yet, as I am editing them now.
Just so you know, it's not dramatic, like it lights up everything. As it's just enough light to enhance the image and not be a distraction.

My only complaint, which is with all LED lights, is that LED lights are much more intense in brightness than tungsten lighting. SO while tungsten camera lights look like glowing orbs, LED lights look like super novas. This is due to the fact that tungsten bulbs are strong enough for output, while LED bulbs have to be arranged in an array to get the same output. Teh more LED's the more light output.

Michael, if you had to buy one set, whether it be the reception lighting or the 256 kit, what one would you choose?

Do you ever get complaints about the 256 LED being bothersome to the B&G?

Does the LED look better in the footage compared to the Reception Lighting?

I like idea of just putting on a battery on the back of the light and not worrying about belts too.

What is your recommendation for quality, ease and the lights not being annoying to the client.

Kelly let me try to answer some of your questions...

Michael, if you had to buy one set, whether it be the reception lighting or the 256 kit, what one would you choose?
Sorry to say but I still don't know.
The Reception style light with regular tungsten lighting (75w bulbs) work just fine and don't have to be balanced to the room, in many instances. And because they are just one bulb they are not as distracting to look at, as the LED256 is an array of LEDs and very bright. But the overall output of the LED256 is nice. And they do run cooler being LED, as well as being self powered makes them nice, but read my answer below.

Do you ever get complaints about the 256 LED being bothersome to the B&G?
I don't get complaints as they are generally up 9-13 feet and out of the line of sight of guests. Photographers love the Reception light setup anyway as it makes it easier for them to see what they are shooting in dark venues. And the output of either of the lights are not strong enough to overpower a DJ light show.

Does the LED look better in the footage compared to the Reception Lighting?
If the light is geld to 3200k then the footage looks almost identical as you lose about 1-2 stops when the light is geld down. With the LED256 still giving a little more juice. Keep in mind that LED light falls off quicker than tungsten style lighting.


I like idea of just putting on a battery on the back of the light and not worrying about belts too.
I thought that at first, however you are still going to want to add weight to the bottom of your stands. So plan on bringing a sandbag. If you plan on using the battery on the light, then forget about a remote control. The reason being that the remote goes between your power source and your light. When the remote is activated it turns on/off the current, which controls your light. I still like the remote capability of this setup, so I still wind up using a battery belt, which enables me to use the remote control, ss well as giving the light stand needed added weight at the base.


What is your recommendation for quality, ease and the lights not being annoying to the client.
I love the Reception Light style setup, as there's no cabling involved, it's remote controlled, unobtrusive, and easy to setup and move where ever you need it to be. Just remember that placement is key so it's not bumped into, as well as make sure that you have weight of some sort at the base so it doesn't tip over easily. The best spots I have found are generally next tot he PA stacks at a reception.

As for LED256 or small on camera style light, I might lean towards the small on camera light, only because the light is better balanced for indoor use. While you could use the light without being color balanced to the room, it's best to use the 3200k gel with the light, but then you sacrifice losing light output by doing so. Also keep in mind, that the LED lights in general are MUCH brighter when look into, as LED lights have to be arranged in an array to achieve the same output as tungsten style lights. So even though the lights are way up out of the line of sight, they will be much more noticeable to everyone.

Sorry that I don't have a difinative answer as this is still a work in progress. But I will say that using a Reception style light is very useful and beneficial.

Great. Thank you. Also, how long does your batteries last on the Reception lighting kit?

Did you make the reception lights yourself? If so, what battery did you buy?

I did make the kits myself, except for the remote controls which I purchased from Reception Light. I use the Bescor | PRB-24XLR Heavy Duty Starved Electrolyte | PRB24XLR (http://www.bhphotovideo.com/c/product/111544-REG/Bescor_PRB24XLR_PRB_24XLR_Heavy_Duty_Starved.html), which lasts me an entire reception at full blast. Keeping in mind that I turn the lights off during dinner.

The belts are very hefty and I am bring along 40lbs of battery, but the run time is great and the weight is perfect for securing the base of the light stands. These babies won't tip over unless someone falls into it. SO keep in mind placement is key.