A couple of videos ago we reviewed this small 16 watt RGB light, but when we need more light and colour we’ve been using this massive light.
Today we are going to be reviewing the LEDGO LG-G260 Watt LED RGB studio light.
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The size of this light is massive. The light source is 67cm by 38cm and the main body of the light is made out of metal. The corners, handle, and other parts of the light are plastic, but no way does this make this feel like a cheap product.
The output of the light is 260 watts and with the light being so big it creates a large soft source. On the front of the light, there is a frosted panel which diffuses the light. You also get barn doors to help shape the light.
On the back of the light are all of the controls. It’s super easy to get familiar with the interface and control each setting as the buttons, dials and screen layout are simple.
One downside to this light is that it does not come with a remote, and you have to buy an extra control to change the settings over wifi. We’ve used a bunch of Aputure lights in the past which all come with a remote as standard. If your lights are up high, changing the settings will be a pain. The light can be controlled with a DMX board, but very people have one of those.
You can dial the colour temperature of this light from 2700 kelvin to 7500 kelvin which is very blue. The best feature to this setting is the ability to add green or magenta. If you are using other lights which have a green or purple tint, you can match this light with other light sources. Then you can correct the colour in your camera’s white balance settings or in post-production.
The HSI mode allows you to cycle through 360 RGB colours and change the saturation of those colours. The numbers of the 360 colour wheel matches up with the small RGB light we reviewed a couple of weeks back. So if we set both lights to 270 degrees we know both of them will give us the same purple light.
The RGBW mode allows you to fine tune in RGB colours, and add more of one colour than another.
If you just want a tungsten light there is a mode for that.
There is a fluorescent mode which has a warmer, cooler, and neutral preset so you can match this light up with the other lights in your scene. Which comes in very handy if you can not control the colour of the other lights in your scene, for example, if you are shooting in an office.
Where this light shines are the pre-built in effects modes. They allow you to create and fake different lighting conditions at a click of a button. In each different effect, there are controls to change and customise the brightness, speed, and colour type.
The storm effect allows you to create a storm. By changing the frequency and speed you can control how violent the storm is.
Showing a cop car in your film is going to be very expensive, so unless it is completely necessary to show the car, using the cop car lighting effect will save you a lot of time and money.
The flash of the red and blue lights are probably enough of a clue to the audience that there is a police presence in your scene.
Soft and Hard Disco
We’ve been testing out the disco modes for our next short film Sixty Seconds. The two main characters are trying to defuse a bomb and things are going a little crazy. The soft disco mode has a longer transition between the colours, where the hard disco mode flashes between the different colours.
Once we’ve made the film we are going to break down the lighting setup, so if you haven't already, consider subscribing.
Other lighting effects this light has is a candle or fire mode which we used to fake this camping setup. The light is slowly flickering and to make it look like a fire we just waved our arms in front of it.
To find out the full specs and the different controls of this light, I've added a link in the description to the manual for the LG-G260.
We’ve only used this light in our studio and to test shoot our next short film Sixty Seconds. Most of the time this light has been around 10 or 20 per cent brightness and is definitely built to be used on bigger sets and studio sound stages.
In our small studio, we did have difficulty controlling the spill of the light from hitting the walls. You can get a honeycomb grid which attaches to the front to help with that, so if we get one we will include it in a follow-up video.
For a small space like our studio, we would need to use a grid which can be attached to the front of the light to stop the spill of the light from hitting all of the walls.
It weighs 11KG, but because of the size of the light you need two people to set it up, and mount it on to a C-Stand. You can also get a hard case for the light with is an necessary to transport it safely.
It’s called a studio light which is the main place we have been using it and it’s been powered from the wall socket. It also has two v-lock mounts on the back of the light, so you can use it anywhere.
The price of this light looks like a scary number, it’s not really for indie filmmakers who shoot run and gun stuff. The LEDGO LG-G260 is for people who have a budget, working on bigger films, and for people who need a light which can do just about everything, therefore saving them time.
The nearest competitor to this light which is of a similar size and functionality are the Arri Skypanels. I’ve never used one, but from the outside, they look like they do just about everything the LEDGO LG-G260 can do but it's more than twice the price and then add a little bit more.
I’ve never used Arri Skypanel, but I am going to say that the LEDGO light looks like it has a much better price to performance.
This light gives you a lot of creative freedom at the turn of a button. There are some DIY solutions to some of the effects this light can produce, and you might look at this light and the price and think, it’s not for you, or I’m never going to be able to get access to a light like this for my films.
Well, we thought the exact same thing 5 years ago. A light like this was totally out of reach, we started using these 160 LED lights which were £30. As you make more films, gain experience, work on bigger productions. Equipment like this will make your job easier, and you will still use the more expensive equipment alongside your the cheap DIY solutions to make your productions even better.
This review was our first thoughts and a run through of what this light has to offer. We are going to be using it to light on our next couple of short films, where we will be doing a full lighting breakdown. So if you want to see more about this light, consider subscribing if you haven't already, and remember achieve it one shot at a time.
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