Tim... While not exactly easy to find... some years ago I found a cold shoe mount and it can/could/might be adapted to thread onto a boom pole... Or you could adapt the threads to mount into the 1/4 threaded hole in the bottom of the shoe on the light itself... so it is a pretty versatile system mounting wise.

If you planned to use this as a hair light, I'd probably want to make a simple little paper or foamboard snoot for it, but you are right... kickers, hairlights, background lights, mini fill lights etc... these litttle lights are perfect for many applications.

Thanks Chris.

Actually, I was speaking to the current, AC or DC since these lights only run on a rechargeable battery.

The 45 min runtime would be quite short for longer shoots and would not work.

If they could be modified to use external batteries or AC power they would be more useful.

I just got one of these lights and it is going to be my "fanny pack" light. It weighs nothing and is quite bright all things considered. It actually may be brighter than I like for an on-camera light so I'll probably get some diffusion as well as some 1/2 minus green. Of course, some 1/2 CTO and 1/2 CTB are probably a good idea to match daylight or tungsten.

With the use of some adapters like these:

Testrite | LSA-10 Light Stand Adapter | LSA10 | B&H Photo Video

Smith-Victor | Adapter 1/4-20 to Standard Shoe | 701955 | B&H

This light could be put atop light stands for use as quick interview lights. A tilt adapter would obviously be better but I had found these for some other LED lights I made that have their own swivel head.

P.S. Why can't the title of this thread be changed so people can find the light we are discussing?

Tim.... yes the runtime is an issue....no question - and I cannot wait for the DIY hack fixes for AC power adapters, or external DC for that matter. Meanwhile, if you had several of these in your arsenal, (and they are so cheap several are not THAT bad an investment - for this and other purposes) you could just keep swapping them out during a shoot. As an interview hairlight, 2 for swapping would probably handle 99% of the interviews you might be likely to do on a location where an AC powered Lowel Prolight (my hairlight), for example, might not work.

Chris

ps. I plan to do some interviews in Montana's backcountry this summer and plan to take half a dozen or more of these along for ALL my lighting needs (ok with a couple reflectors). I know I will be improvising snoots and barn doors, etc...

Good Point on buying a couple and swapping.

So what's the verdict here? Are 3 or 4 of these hacked together more appealing than/as effective as the LPMicro? It sounds like you have to correct the light on these, and the Micro has dimming capabilities and comes ready to apply filters...

Just wondering.

Thanks

WjR

Now... as big a fan as I am for these little "bite sized" marvels....they are NOT, in my mind anyway... even linked together into a panel of 6, 9 or 12... a competitor to the LED display sized lights. Think of them as a unique niche light.... a fill, a kicker, etc. Can you substitute them for a LED panel in a crunch? Yes, probably, but they won't give you the same kind of results I am sure. Use them singly or in pairs....and appropriately, and you will have a lot of fun and improve your cinemagraphic results. But... an LED panel substitute? ... uh huh. I don't think so.

In other words if you have a situation that might benefit from a LED panel light, and have the time to use it, and it won't be in the way - time wise or size wise, you WILL be better off using it.

Run and gun? and niche uses? Perfect.

My projected use this summer of a few of these for interviews in Montana's backcountry was based as much on weight and price than anything.

Hope this helps dispel yours and anyone else's thoughts that this was/is/could be, better than, say, Richard Andrewski's LED panels. It isn't, plain and simple. But it is a great little bite sized addition.

Me ? I think a couple belong in any videographer's tool kit.

Chris

ps. In other words if you were looking at LED panels, do not let this thread slow you down.
pps. If I were going to buy an LED panel, I'd seriously consider Richard's LED 600's.

No need for the adapter, the light's mount is threaded already?

Chris do you have one of these lights?
Gary

Yes I have two, plus some of the IR ones as well.

I picked up 6 of them, for being able to swap and have some backups, for the prices I paid, can't argue with them. I'm going to add some simple diffusers (using some needlepoint backing - crazy idea I got from a diffuser I saw for a still camera, mainly to soften the light for the interviewee a bit, but also helps spread the light more evenly). I find the camera seems to adapt WB pretty well with these (unlike the "blue ice" consumer LEDs), they are adequate for fill and when used in pairs they seem to boost over using one.

Tried using more than that, and there's not as noticeable a difference. A bit more light obviously, but I suspect these would benefit from being spread out in an array (when using two I've got them about a foot apart on outboard brackets). Throw seems pretty good, which is a weakness in ANY light rig.

Now I'm thinking about that external battery idea... HMMMM, that's the one weakness is the less than 1 hour run time and about 3-4 hours recharge from my experiments. I know the charger input shuts off the lights (won't come on when charging), but external power pack... can't be THAT hard to cobble up. Something using some of the old Sony F or FM serise shouldn't be too hard, and those are available pretty cheap... Not something I really need myself, the one hour time and a couple sets of them is plenty, but...

I thought I would bring this thread back into "real time" as I am often times pointing folks at it.

In a recent shoot I had the opporunity to use one as a kicker to separate a foreground object that was otherwise in shadow and blending it, light a shaded background object to make it look more natural, use it as a "hairlight/hair kicker" and to use in in a vehicle to moderate heavy shadows.

In other words a very valuable addition to anyones lighting tool kit.

Think of it this way...you have a scene lit, and as you look at the display showing the final result on camera, you notice a small area where you think, "Dang, I wish I had a little more light THERE." With these, you can pretty much hand hold the light during the shot and accomplish the "DANG I WISH" need, or hide it and get the rsult you want with the source itself hidden. ( A little black foil , or a tiny fold out mini tripod can be handy addition.)

ps. It is a SIMA !!! not SIGMA !

I probably have $700 worth of on-camera lighting (LED and Tungsten), but these little gems have been my go-to kit for the past year because of the minimal weight they add, and the fact that I can use them with my Merlin steadycam without major balance adjustments (or dreaded power cables). I gang two (or three) in a row, put dimpled plastic diffusion sheets that I cut to size (and attached via velcro). I can run from 30% to 100% power by choosing how many lights to run. They are a bit harsh undiffused (and I wouldn't use them that way). The 'throw' isn't ideal (so get a bit closer). But done right, they offer a nice alternative to more expensive (and heavier) units costing 10x as much!
This is a sample from a bridal prep in a heavily backlit room (with 1 (diffused) Sima light on an XH-A1) Polina & Dmitry By Oren Arieli On ExposureRoom

Here's a video I shot at SEMA this past week using 4 of these lights on my HMC40 set with the iris open and no gain. I think they make a difference, but not a huge difference and they do through a bit of green tint off, but it doesn't help that this vehicle was bright green either. :) I've got some more footage with them that I'll post up later on, but this is what I have so far with these lights. I think I'm going to need to spend more money for better quality lights, personally. The footage clarity from my HMC40 in good light versus poor light is huge, so I'd say it will be worth it.

http://www.youtube.com/watch?v=rnSFnLS2qmA

Chris

The Simas are great for the money...I get tired of changing them as they do run down quickly. I run 2-3 at a time, and they make a huge difference for wedding use if used correctly. They obviously do not have a long throw, but running three per camera are sufficient for dancing and most other (not all) reception situations. You have to move in on your subject with these.

I'm going to buy the Comer 900 or 1800 as they are without question the best light for the money anywhere. The Comer is better than the Swit, which costs double or more.

If they don't make much of a difference for you then you are using them in situations they are not suited for. If you are twenty or even 10 feet from the subject they will not make much difference...except in a very dark situation.

I just wanted to pass my thanx on to your guys from Sima. I told them about this thread and they added a link to it on their blog.
Sima’s SL-20LX is a hit! Sima Products


BTW - We're still running our 3 pak promo at $99.95. $35 each one at a time.

Videoguys.com - Search for "sl20"

Gary

I was using them very close to the subject with the pany wide angle lens, less than 10 feet and mostly around 5 feet. I think I'm going to buy the comer 1800 most likely. Looks nice...just wish it worked with the pany batteries.

Gary, you guys should look into the Comers, no one sells them ANYWHERE but one shop in L.A.

I think I'm going to spring for a comer...anybody got any footate using the $200 bescor though?

Chris