 Hey, what is up? My name is Rubidium and welcome to the 2018 LED shootout. Sounds like a fancy name and people love competitions, but I have, you know, a lot of LED lights now. I love LED. I love the fact that it's daylight. I love that it's dimmable. I love that they're light and cool and transportable. So I've accumulated a bunch of these things now and I thought it'd be fun to sit down with my basic, you know, lighting setup that I usually do in these videos, change out the different LEDs that I own or have in the studio right now and sort of see how they compare with one another in terms of color temperature, quality of light. The only light I have on is our key and four foot quasar tube on a C-stand. So if I turn off my key, you'll see what the basic exposure is in the room. Some little bit of spill coming in the windows, but I'm going to keep them all arms length from me and I'm going to stop the dim them up or down to keep the same exposure on camera. So first up is the Intellitec Lightcoth LC 120. This is a foldable light. It's not like a piece of cloth that comes in three panels. So it folds up as you can see here. It comes with an egg crate with diffusion. It's very light. It comes with this basically the dimmer and the ballast or was the ballast and the power pack, which you can, you know, adjust with these knobs here and the color temperature goes from I think 3,000 to 9999. So the new LEDs like this one have a lot more range than the older ones. This is with the egg crate off, a bit more exposure. Though I think I'm probably dimmed down to about 20 percent. So it's a very bright light as a lot of the new LEDs are, but you get more spill in the background. Next up is my LightMap 2L, slightly older light. Only daylight doesn't dim. It's like two or three generations old now. Still absolute workhorse. I take it to a lot of interviews that I go to because it's so much easier to carry than some of the big 4x4 chinos or light panel sort of stuff. And it's also very wide. This is with the grid on. This is with the grid off. One disadvantage of these is you have to really like Velcro. This whole thing is held together by Velcro and it doesn't fold. So it stays this size. It is a bigger light than the other anyone, pretty much all the other ones we're looking at. So its physical advantage is its size, but it's also its disadvantage because you can't really get this on an airplane. It actually has grommet holes in the light. So if you were on set, you could screw it into the set and only have a really, you know, less than an inch profile to put your light up. The dimmer and the power pack are all separate. They can go different places, but awesome light. Hundreds of shoots like thousands of hours with this thing still going strong doesn't get that bright. Like I said, the previous generation of high CRI LEDs, even the daylight only ones weren't, weren't crazy bright. Like I'll turn this up. That's, that's full. If this is the IntelliTech, you know, it would be, I would be totally white. So after 20 years of being kind of the trendsetter and the dominant brand in lighting, Kinoflow weren't about to let all these new LED brands come along and kind of still their thunder. So this one's called the Freestyle 31. It's a three foot light. It's more than double the price of the light mat. It's about five or six times the weight. It's probably about 15 or 20 times the output. And it also has multitude of crazy color effects and LEDs, sort of like an RE SkyPanel or the same kind of philosophy as that. The Kinos are much more high end professional tool. The new Freestyles do not just RGB, but you can dial in all different types of filters. You can dial in types of effects. You can do TV, you can do fire. You can set it to flash alternate police siren or some flickering fire effect onto a different form factor. This is the Lupo Superpanel one by one. It's by color. This is a daylight. It is insanely bright. So to give you an idea, same settings as as the light mat on full and I'm overexposed at two percent. It's not wrapping as much because it's a smaller source. The nose shadow is harder than it was. The good thing about a one by one is that one by one panels have been around for 10 years now and there are a bunch of accessories. The one I have is called the air box. It comes like this. You blow it up and it becomes a one by one diffusion essentially doubles the size of the source. It doesn't it doesn't look that dramatic, but I'll put this on and you'll see how much it changes it with the airbox on the Superpanel. We've had to go up from two percent to 10 percent, but you can see it just it softens that shell a little bit doesn't make it as cutting as harsh. It doesn't interrupt the person's face as much. But you still have a nice easily transportable light that super powerful by color. You could use this in it's powerful enough to use in shade during the day, but it very compact, very transportable and still, you know, a wonderfully soft light source if you get it close enough. If I wanted a more diffused source, I can always get that by making the light apparently larger to the subject. Okay, so now we're into the spotlight sort of form factor. Again, it's an LED. This is a Lupo Day Led 650. Smaller light. It's a Fresnel small light, harsher shadow again. We're getting into the kind of point light sources, meaning it's going to look like the sun. I would probably only light a person's close up in this way. If that's the effect we're going for is, you know, it's a lot easier than staring into the sun. I'm still getting really good exposure on this because I'm able to dim this down all the way to zero. I think it's only on 10 or 15 percent before it was zoomed out. Now it's zoomed in the spotlights even tighter. It's like barely covering my face. It's a really cool film noir. The last light we're looking at today is very different from all the previous ones. It's called the Stella 2000. It's a 2000 lumen light made by a company called Light and Motion here in California. And it's a spotlight. It's pretty bright, but it's totally self-contained. So it has a little battery inside it that you charge. You can connect to an external power source. But most of the time I just run it off its internal battery. I use it as a as a hairlight as a backlight. It does come with an umbrella holder. So you can take something like a Westconn umbrella, you know, with a tiny little battery powered light source and an effect that, you know, now we have nice soft shadows on the side of the face, nice illumination. You're getting a lot more spill on the back than we did with the Kano style lights. But very cool effect. So that was my 2018 LED shootout. Hopefully that helps some people decide, you know, what light is right for which job. Or, you know, if you're thinking of buying something, sort of what the balance balance between softness, size, transportability and effect is. But thanks very much for watching. I'll see you next time.