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temperature control. Once you have a couple of tungsten lamps running in these conditions it doesn’t take long for the videographer/talent relationship to diminish – which in turn doesn’t do anything for their performance and for my end result. CRI performance aside, there are far more important features and benefits of the Lishuai LED508AS-KIT that have impressed me so far. Each lighting panel measures around 33cm by 17cm and include 508 LEDs – 254 of which are rated at 3200K and 254 at 5600K. A rotary knob on the rear of the unit allows you to dial in your colour temperature from 3200K to 5600K – and anywhere in between. I’ve found this to be extremely useful in mixed lighting situations where it has enabled me to make a choice between balancing to either depending on the situation. If there’s predominantly external natural light in a room just turn the colour temperature to 5600K. If there’s some really nice artificial lighting then it’s just as easy to balance to that – without the need to add gels or exclude available lights. I’ve also used them outdoors in bright sunlight to add a little fill to an interviewee’s face who was standing in shadow with a brightly lit building behind them. Because of their cool running temperature I could get the lights within a foot or so of the interviewee’s face – positioning the panels almost touching each other to give me a large light source to compete with the strong sunlit background. subjects have been somewhat startled by their brightness. The units can be either mains or battery powered (30.5w) – which is another really useful feature and demonstrates how much more energy efficient LED lighting is over traditional tungsten lighting. Running the lamps at full power – at a mid colour temperature – will give you around 2.5 hours using both batteries. There’s also a really useful battery power indicator in 25% increments so you know how much longer you have left before a recharge or switching to mains. In my mind though, 2.5 hours is plenty – and if you already have other kit running off the NPF battery system (I have a monitor that will) you can always cross-use these. Lishuai Kit Conclusion Of all the features mentioned above the one thing that I instantly fell in love with was the lack of heat. I’ve also got an Ianiro 3-head lighting kit and whilst I still use this for some shoots the heat they generate is a serious negative. A lot of my work is based around talking head interviews which are often filmed in the subject’s place of work with limited space and no air The only negative I have noticed with the lamps, which is not really a negative at all, is that I left the batteries on the lights at one point and also attached the mains supply. This caused the lights to pulse slightly. Once I’d removed the batteries the pulsing stopped instantly – so if you ever experience this you’ll know what to do. I’m now into my third shoot using these lights and I’ve already started questioning the logic of packing my old tungsten lights into the car. On the last two occasions they’ve not been out of their case at all - relying solely on the Lishuai kit to illuminate. As there’s always been an additional light source at the location (either a window or an artificial source of some kind) I’ve been able to use this in order to create my 3-point lighting for modelling – and used the light’s variable colour temperature according to the source. You might have guessed from this article that I’m more than chuffed with the Lishuai kit. It’s exceptional value for money and convinced me that my future lighting investments will be in LED. They are cool - in every sense of the word! More information on the Lishuai LED508AS lighting kit is available from www.proav.co.uk The panels are also dimmable (flicker- free) from 10 to 100% which is a really neat feature when trying to create mood and shape to your subject. Lishuai rate the lights at 8500 Lux at 0.5m (falling to 2500 Lux at 1m) so these are not going to light up an entire theatre by any means. However, I’ve found them perfect for lighting interviews and talking-head pieces and on more than one occasion my TV-BAY MAGAZINE: ISSUE 82 OCTOBER 2013 | 57