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Shooting non-repeatable events: weddings, recitals, plays, performances...


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Old November 15th, 2009, 09:18 AM   #16
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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.
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Old November 15th, 2009, 01:32 PM   #17
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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.
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Last edited by Michael Liebergot; November 16th, 2009 at 01:03 PM.
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Old November 15th, 2009, 01:50 PM   #18
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What about cutting the cake?
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Old November 16th, 2009, 01:02 PM   #19
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Quote:
Originally Posted by Tim Polster View Post
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. =)
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Old November 16th, 2009, 09:40 PM   #20
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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.
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Old November 16th, 2009, 10:13 PM   #21
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Originally Posted by Michael Liebergot View Post
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
anybody knows how this cool light compare to sony hvl lbp?

Thanks

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Old November 18th, 2009, 04:47 PM   #22
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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.
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Old November 19th, 2009, 12:23 PM   #23
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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..

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Old November 20th, 2009, 12:20 PM   #24
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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.
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Old November 23rd, 2009, 03:34 PM   #25
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Michael - I would be interested in hearing what made you to switch?
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Old November 23rd, 2009, 08:17 PM   #26
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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
All in all it's a no brainer, as for me, it's been a superior light in every way.
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Old November 24th, 2009, 07:02 AM   #27
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Quote:
Originally Posted by Andrew Jezierski View Post
Michael - I would be interested in hearing what made you to switch?
Quote:
Originally Posted by Michael Liebergot View Post
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?

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Old November 24th, 2009, 09:19 AM   #28
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Woops sorry Andrew.

Quote:
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. =(


Quote:
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.
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Old January 29th, 2010, 08:36 PM   #29
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Michael do you have any example footage from a reception using the 256 LED's?
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Old January 30th, 2010, 04:43 AM   #30
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Hi Michael, any screen grabs of what it is like with 2 256LEDs in the reception?
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