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Mixing brands

From: Up and Running with Studio Strobes

Video: Mixing brands

So Rich, one of the things that's inevitable is you're going to mix lights.

Mixing brands

So Rich, one of the things that's inevitable is you're going to mix lights. >> Yeah. >> Whether you're buying a kit and adding a light to it or you're just in a situation where you have two different brands or three different brands of light. >> We're going to end up with situations where we have different brand lights on the set, and that's fine. And even mixing different brand accessories with some of our lights, and I think the big thing to say is that's okay, as long as you test your results before the client is standing there. Or you get out in the field and realize you're missing something.

>> Right, and understand what's important to match and what is less important to match. For instance, stands. >> Right. >> Yes, there's different quality of stands. Some are heavier-duty, some are lighter-duty. Some will go up higher. But all in all, a lot of times I don't even notice which brand of stand I'm grabbing when I'm putting a light on it, unless I know it's a heavy light, I want a heavy stand. Yeah. We're in my studio today. And I easily have fiver different brands of lighting stands here.

Some of them are different styles but we've got one from five different manufacturers. So, my kit came with certain lighting stands. I don't even know where some of them are. You know, one got left on set. I replaced it. I just grabbed another one out of the studio. It's okay. The power cord that this one takes, a standard power cord. I've got a drawer full of them. It's not a big deal. I travel with spares because, that way if I forget one, when I get to the next shoot I've got an extra one in the bag. That's fine you know. Figure out what gear you have, is industry standard.

I could buy this power cord at a RadioShack. I can go behind and pull it out of a computer or a fan. And plug it in and, and be up and running. What I can't do though, is take the modifier off of this light and put it on that light. >> And that's a key thing because, yes you know, well this modifier and I'll bring this modifier. But there's a lot of times I'll do a lighting set up and I'll say, you know, I want to flip-flop the beauty dish and the soft box. And I can just flip the beauty dish and the soft box if they had the same mount ,but if they did not I have to actually move the actual light and readjust how bright it is.

But it gets confusing, and sometimes I may bring the wrong modifier for the wrong light. >> Really just think about this. It's perfectly fine to mix brands of equipment. And, as long as you're looking at having spare parts where you need 'em, some redundancy, you're going to be fine. But before you make a big investment, make sure you look up, as we've said before, what gear is going to work. Do you have an existing equipment from a previous kit that you've bought, or any light modifiers that you want to use? Do you have any battery packs that you've already invested in? Make sure you really weigh the whole decision as you're putting your kit together.

>> Yeah, there's a lot of lights that do have interchangeable parts. And the other thing is bulbs. When you're out in the field and a bulb goes, you want to be able to swap it out and you don't want to have to have seven or eight different types of bulbs. For seven or eight different types of units. >> Right, and you're not going to a Home Depot to pick up these bulbs. These are always going to be, at best, a visit to a specialty camera store, or a grip house, more likely an online order. And depending upon the brand of the light, I've seen these be special orders.

Some lights, you know? They keep in stock, they've got 'em. Other times it could be that busy season like back-to-school, or school picture time, or wedding season, and oh, we ran out it'll be two weeks before they come in. >> You should always have backup lights in your kit when you travel, no matter what. A backup of each light modeling involves, and we'll actually talk a little bit about modeling lights and bulb lights a little bit later. >> All right, so let's keep going and explore what we can do with these lights.

Show transcript

This video is part of

Image for Up and Running with Studio Strobes
Up and Running with Studio Strobes

62 video lessons · 5120 viewers

Richard Harrington and Abba Shapiro
Author

 
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  1. 4m 6s
    1. Welcome
      2m 4s
    2. What you should know to get the most from this course
      2m 2s
  2. 6m 26s
    1. Shooting with strobes
      1m 23s
    2. Strobe lighting allows you to shoot with an increased depth of field
      58s
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
      48s
    5. Strobe lighting offers many modifiers to shape light
      1m 38s
  3. 7m 34s
    1. Continuous lighting is easier for a beginner to understand
      1m 47s
    2. Continuous lighting makes it easier to achieve soft-light looks
      2m 57s
    3. Continuous lighting is useful if mixing video into the shoot
      2m 50s
  4. 20m 47s
    1. Buying piecemeal vs. buying a kit
      2m 29s
    2. Criteria for selecting lights
      5m 57s
    3. How many lights do you need?
      3m 0s
    4. How much power do you need
      5m 37s
    5. Mixing brands
      3m 44s
  5. 16m 40s
    1. Monolights and flash heads
      2m 22s
    2. Reflectors and diffusers
      3m 54s
    3. Lighting stands and booms
      3m 49s
    4. Power pack or power supplies
      4m 29s
    5. Sync cable
      2m 6s
  6. 19m 7s
    1. Handling the lamp or bulb
      2m 52s
    2. The role of the modeling light
      4m 36s
    3. Keeping lights cool
      1m 46s
    4. The master and slave relationship for lighting
      4m 5s
    5. Essential controls
      5m 48s
  7. 14m 59s
    1. Connecting the sync cable
      3m 16s
    2. Using a wireless transmitter
      7m 7s
    3. Slaving with a speedlight
      4m 36s
  8. 34m 6s
    1. Setting shutter sync speed
      4m 56s
    2. Setting an initial aperture and ISO
      2m 28s
    3. Controlling power output
      3m 1s
    4. Moving lights (the inverse-square rule)
      2m 8s
    5. Using a light meter in camera
      4m 4s
    6. Using an external light meter
      1m 45s
    7. Test shooting with one light at a time
      2m 5s
    8. Putting it all together
      1m 39s
    9. Controlling exposure with power or aperture
      1m 6s
    10. Refining exposure with ISO
      1m 39s
    11. Tethering to a laptop
      5m 22s
    12. Checking the shots on a computer
      3m 53s
  9. 31m 38s
    1. Modifying strobe lights
      1m 9s
    2. Bouncing the light with a reflector
      4m 26s
    3. Bouncing the light with a bounce card
      1m 12s
    4. Shaping the light with a beauty dish
      3m 5s
    5. Diffusing the light with an umbrella
      5m 50s
    6. Diffusing the light with a softbox
      4m 49s
    7. Focusing the light with a snoot
      6m 58s
    8. Modeling the light with grids and honeycombs
      2m 2s
    9. Using flags to restrict the light
      2m 7s
  10. 14m 50s
    1. Three-light setup
      6m 52s
    2. Three-light dramatic portrait
      4m 59s
    3. Four-light setup
      2m 59s
  11. 46m 56s
    1. Take the challenge
      55s
    2. Solution
      29s
    3. Portrait challenge 1
      8m 6s
    4. Portrait challenge 2
      3m 10s
    5. Portrait challenge 3
      12m 55s
    6. Portrait challenge 4
      3m 19s
    7. Portrait challenge 5
      4m 28s
    8. Portrait challenge 6
      9m 5s
    9. Portrait challenge 7
      4m 29s
  12. 39s
    1. Next steps
      39s

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