As a regular reviewer for Digital Camera World, I tend to test gadgets such as smartphone and mirrorless camera gimbals, wireless microphones, webcams, and continuous LED light sources like the Neewer FS60B. LEDs are among my favorite products to review, as they give me an excuse to leave the office, hire a model, and demonstrate the different looks that a portable continuous light can add to both stills and video. After all, a well-lit model portrait makes for a far more appealing review image than a shot of me staring into a webcam!

The FS60B is a 60W LED light from Chinese manufacturer Neewer. As well as manufacturing continuous LEDs, Neewer produces a wide range of kit including on-camera flashes, teleprompters, and V-mount batteries.

LED stands for light-emitting diode, so the light is produced by an array of small beads rather than a traditional bulb. Having grown up using old-school bulb lights during my career, I much prefer LEDs. There are no bulbs to keep replacing, and as they tend to run cooler than traditional lamps, you don’t have to wait around for the light to cool down before you can pack it away (though I did feel the heat on one occasion with this particular LED, as I’ll explain in the performance section).

The Neewer FS60B is a bi-color light, which means it contains a mix of 'warm' and 'cool LEDs that can be blended to produce color temperatures ranging from a warm 2700K to a cooler 6500K. This gives you the flexibility to mimic the glow of a sunset or add fill light that matches a cooler midday key light.

In addition to bi-color lights, Neewer also makes RGB lights, such as the flat-panel PL60C. These use a broader mix of colored LEDs to produce thousands of creative hues. Bi-color lights such as the FS60B are less versatile when it comes to producing color effects, but they tend to emit a brighter output because more of their similarly colored diodes can be illuminated at the same time.

Both the Neewer PL60C and the Neewer FS60B are 60W lights that are among the best LED lights for filmmaking and vlogging, but the latter is much lighter and smaller, so it will suit 'run and gun' photographers/videographers who need to fit a powerful yet portable light source in their kit bag.

Neewer FS60B: Specifications

Neewer FS60B: Price

The Neewer FS60B 60W Compact Pocket Bi-Color LED Light officially retails at $119.99 (around £100). Given the portability offered by its pocket-sized build and its astonishingly powerful 34,300 lux output (with supplied reflector attached), this is a small price to pay for such a portable and powerful LED.

The FS60B ships with a 20V DC power supply that you can plug into the mains. However, if, like me, you want to shoot in a location without access to a mains socket (such as a city street), then you’ll need to provide a portable power source such as the Neewer PS099E V-mount battery, which will add $179.99 to the price. You can link the battery to the FS60B via a USB-C cable, which is what I did when testing the light on location. The FS60B is also compatible with the Neewer PH99E Battery Grip, which attaches to the FS60B’s 1/4-inch threads – though that costs as much as the FS60B itself!

If you need a bi-color LED that ships with a supplied chargeable battery, then check out the Godox ML80Bi (see Alternatives section below). However, at $299, the Godox LED does cost a lot more than the Neewer FS60B, though you don’t have the inconvenience of having a separate battery attached to the LED via a USB-C cable.

Neewer FS60B: Design & Handling

My first impression on opening the Neewer FS60B’s box was, "where’s the light!?" For a second or two, I thought that someone must have pinched it while the package was in transit. Then I realized that a thin, silver-colored rectangular plastic unit inside the packaging was actually the LED itself. It was much slimmer than the usual box-shaped LEDs that I test (such as the Godox ML80Bi). The FS60B was also very light – weighing in at just under 0.66lb (300g).

Neewer describes the FS60B as a "pocket" light, and at 5.9x3.5x1.3in (15x8.9x3.3cm), it did indeed fit into the pocket of my shorts – I’m writing this during a heatwave! However, it isn’t the most comfortable pocket-dwelling gadget, as two chunky plastic control knobs protrude from the rear.

These two knobs let you adjust lighting properties such as brightness and color temperature, as we’ll explore in the Performance section. They also double as buttons. Press the brightness control on the left, for example, and you can jump through the intensity range in 20% increments from 0 to 100, rather than turning the dial manually. The right-hand knob can be pressed to cycle through settings when using the light’s animated effects, such as the frequency of a simulated lightning flash, for example.

On the opposite side of the unit is a slightly raised circular metal housing containing the LEDs. This section needs to be made from metal because the LEDs can generate a considerable amount of heat (see Performance section). Surrounding the LEDs is a circular plastic grille through which you can see the unit’s essential cooling fan.

Set into the metal housing around the LEDs are three Neewer Mini Mount slots, enabling you to attach compatible accessories, including the reflector supplied with the light. Standard Bowens-mount modifiers can also be fitted, although this requires Neewer’s optional CHB1 Mini-to-Bowens adapter.

Neewer FS60B: Performance

Because the Neewer FS60B provides a continuous light source, I decided to hire a model and film some footage of her using my iPhone 17 Pro in the atmospheric (but gloomy) corridors of London’s Barbican Centre. The LED’s powerful 34,300 lux output was more than bright enough to capture footage free from high-ISO artifacts, and it also added drama to the clips by casting a strong shadow of the model on the location’s textured concrete walls.

As I also planned to shoot portraits with my iPhone, I used the FS60B as a key light (and sometimes a fill light, depending on available light sources). By positioning the LED to one side of my model, I was able to create a more sculpted, three-dimensional illumination in much the same way as I would with a DSLR’s external flash – but with the advantage of seeing the lighting effect on the model before pressing the shutter. I found it easy to use the FS60B’s two knobs/buttons to adjust brightness and choose a color temperature that complemented the warm interior available light in the location.

Before meeting Maddy, my model, I sat down on the location’s carpeted floor to check my kit. The FS60B was resting face down on my leg while I used the Neewer Studio app on my iPhone 17 Pro to switch on the LEDs. I soon felt their heat against my bare skin, as I was wearing shorts for this heatwave test shoot! I was surprised by just how hot the LEDs felt, as I hadn’t noticed much heat from other continuous lights that I’ve tested. Then again, I’d never placed one directly against my skin before. Lesson learned.

As the shoot was taking place on location, I didn’t want to rely on the kit’s supplied mains adapter to power the light, as this would limit me to staying close to wall-mounted power sockets. Instead, I carried a Neewer PS099E V-mount battery in my backpack, along with the longest USB-C cable I could find. The cable connecting the battery to the LED was only a couple of feet long, so I decided against bringing a standard (and tall) lighting stand along for the ride. I didn’t want the chunky PS099E battery dangling by its cable from a light mounted on a tall stand.

Instead, I packed a small Joby GorillaPod, whose flexible legs can be used as a miniature tripod or wrapped around a railing. The Barbican has plenty of raised surfaces where I could position the light securely and rest the battery nearby, without putting pressure on the power cable.

The Neewer FS60B has 1/4-inch threads on both its base and side, so I was able to mount it on the GorillaPod with ease. As the LED weighs less than 0.66lb (300g), it remained stable despite the GorillaPod’s relatively short legs. Check out the supporting video to see the FS60B in action.

The FS60B ships with a small reflector that attaches to its Neewer Mini Mount slots with a push and a twist, boosting the light’s output to an impressive 34,300 lux. As this more-focused beam could cast harsh shadows on my model, I attached the supplied rubber diffuser to the front of the reflector to soften the light.

The LED’s Neewer Mini Mount slots also enabled me to attach a larger Neewer lantern softbox. This created a broad yet powerful studio-style light source that worked particularly well for some of my model portraits, as you’ll see from the portraits accompanying this review.

As well as providing continuous illumination, the Neewer FS60B can produce intermittent lighting patterns at color temperatures ranging from 2700K to 6500K. Its 12 lighting presets include effects such as flashes of lightning and a flickering broken bulb.

As I had both a model and a long, dark, suitably spooky corridor at my disposal, I used the control knobs and Mode button to select the Broken Bulb effect. The FS60B was powerful enough to illuminate my model from a distance (see video), while also revealing plenty of detail in the surrounding architecture. Each time the simulated bulb flickered out, the corridor was momentarily plunged into gloomy shadow, making this preset particularly effective for adding drama and atmosphere to my mini-thriller sequence.

On a previous test shoot with the Neewer PS099E V-mount battery as a power source, I ran out of power in one hour. This was because I was testing the much more power-hungry Godox ML150Bi, which is a 150W light compared to the FS60B's 60W. As a result, I had plenty of juice left in the battery after filming and shooting portraits for the first hour of the shoot.

I used this extra power to set up a shoot in a nearby alley adjacent to the Barbican Centre. Despite strong sun overhead, the alley was in shadow, so the FS60B became a key light. Given the GorillaPod’s short legs, I illuminated Maddy from a low angle. This added a mix of dramatic highlights and shadows to her face that suited the grungy urban alley. The low-angle light from the floor-mounted FS60B created a mean and moody look that suited my model’s dramatic location and streetwise look.

I did take the light along to a more conventional model shoot, and it was very useful when I could shoot the model with the light at head height. However, due to the short cable between the light and the battery, I often had to shoot from a low angle, and the resulting shadows didn’t flatter my other model’s face, emphasizing features such as eye bags.

Neewer FS60B: Verdict

I thoroughly enjoyed using the Neewer FS60B on my urban model test shoot. Its compact size meant that I could travel light, while its 60W output and supplied reflector provided enough power to capture clean video footage in relatively gloomy interiors without excessive high-ISO noise. The animated effects, such as Broken Bulb, also helped me capture an atmospheric mini-thriller sequence, which made the test shoot even more enjoyable. The FS60B also worked well as a powerful, dramatic key light in shady outdoor alleys, enabling me to capture some suitably edgy street portraits.

Its main drawback is the lack of a built-in rechargeable battery. An internal battery would have made it easier to mount the light on a tall stand and position it at a more flattering side angle. Because the FS60B was connected to a V-mount battery by a relatively short USB-C cable, I often had to find a raised surface that could support both the light and its power source (or pop the light and its mini tripod on the floor).

I enjoyed shooting from lower angles, as this added drama to my portraits, but for illuminating more conventional lifestyle images, I would have preferred the flexibility to position the light higher, without being constrained by a battery attached via a cable. I appreciate that you could power the FS60B from the mains using its supplied power unit, which has a cable long enough for you to mount the light at head height on a stand. However, I like to shoot on location, so I had to use a battery-powered solution.

Alternatives

The Godox RS100Bi is a continuous LED (Light Emitting Diode) video light designed to illuminate your video or photography subjects while on location. Its compact design enables you to fit it easily into your camera backpack, and its built-in USB-C chargeable battery means that you don’t need to carry a chunky V-mount battery (as I had to when I tested the Godox ML150Bi).

Godox released a very similar-looking RS100R version at the same time as the RS100Bi. The key difference between the two lights is that the Godox RS100Bi emits light in degrees Kelvin (K), with a color temperature range of a very warm 2800K to a cooler 6500K. The RS100R is an RGB LED, so it has much more control over color. The RS100R can emit a wider range of CCT values than the RS100Bi, between 1800K and 10,000K. It can also mix RGB LED bulbs to produce a rainbow of creative colors. This extra color output means the RS100R has 14 animated video effects, whereas the color restrictions on the RS100Bi limit it to 11 animated effects.

So on paper, it would appear to be a no-brainer to buy the RS100R instead of the RS100Bi. But hold on a tick – it all depends on your needs as a videographer/photographer. If you need creative color output (beyond a typical CCT range), the RS100R should be the model for you. But if you need a brighter LED with a longer reach, then the RS100Bi will meet your requirements. I’ll delve into the key differences between the two models in the Design and Handling section so that you can make an informed choice between the RS100Bi and the RS100R, both of which aim to be among the best LED video lights.

Godox RS100Bi: Specifications

Godox RS100Bi: Price

The Godox RS100Bi retails for an official price of $229 / £209. It’s a fair bit cheaper than its sister light – the RS100R, which costs $319/£289. As well as being cheaper, the RS100Bi is much brighter than its more expensive sibling, with the RS100Bi emitting 28,600 lux compared to the 15,900 lux from the RS100R.

So if you need a portable LED with a long reach, then the RS100Bi offers good value for money. However, if you need a light capable of producing more creative colors, then the RS100R might be worth the extra cost. As an RGB light, the RS100R can produce a wider range of color temperatures, plus it can cast thousands of atmospheric colors on your subjects. This extra color control gives the RS100R more effective animated lightning effects, such as a red, yellow, and blue cop car effect – something that is absent on the cheaper RS100Bi model that I am testing for this review.

So, if you need more creative color control, can compromise on a weaker lux output, and have more money to spend, go for the RS100R. If you’re on a tighter budget, don’t need to produce colors beyond a 2800-6500 Kelvin range, and want a much brighter light source, then the RS100Bi is the model for you.

Godox RS100Bi: Design & Handling

The Godox RS100Bi looks virtually identical to its more expensive sibling, the RS100R. However, the RS100R uses a full-color LED array to produce an extensive range of RGB hues, whereas the RS100Bi is dedicated to bi-color (warm and cool) white light. This limits its CCT range to 2800-6500K, compared with the RS100R’s broader 1800-10,000K range, but enables the RS100Bi to deliver considerably more brightness. With the supplied lens reflector fitted, the RS100Bi produces up to 28,600 lux at 1m and 5600K, compared with the RS100R’s 15,900 lux under the same conditions.

Now that I’ve got the crucial difference between the RS100Bi and the RS100R out of the way, I’ll focus on my experience with testing the Godox RS100Bi for the rest of this review.

The RS100Bi is constructed of a black plastic material and is shaped like a chunky flashlight (or torch). It feels satisfyingly heavy at 1.95lb (886g), giving it the feeling of a well-constructed and professional piece of kit. Yet at under two pounds (one kilogram), it’s not too heavy to cart around in your camera backpack, and at just under 10 inches in length, it’ll fit easily into your backpack (or into one of the tripod/bottle holders on the side).

The RS100Bi ships with a few accessories. The most important one is the high-efficiency lens reflector. This slots onto the front of the LED with a click and a twist, massively boosting the output of the light’s LEDs. A USB-C charging cable enables you to charge up the RS100Bi’s internal battery. This battery is designed to operate for 52 minutes at full power, though I found that 50% power output was more than bright enough in my studio location. Talking of power, a really nice touch is that the little OLED display on the rear of the unit gives you a battery countdown, so you know how long the power should last during a shoot. I could have done with a runtime countdown when testing the Godox ML150Bi LED, as it ran out suddenly before I’d finished the shoot. The RS100Bi is compatible with 18-140W PD chargers (though a charger is not included).

The kit also ships with a little lighting stand mount. This screws into the RS100Bi’s 1/4-inch thread and then slots onto a standard light stand. You can adjust the angle of the mount with ease so the light points up or down at your subject. There’s also a cloth carry bag in the box. Thanks to the LED’s Godox S-mount compatibility, you can replace the supplied reflector with a wide range of Godox accessories, such as softboxes (not supplied).

The properties of the Godox RS100Bi are controlled by three buttons and a knob at the rear of the light. The knob also functions as an extra button. The settings or modes that you select are visible on a little OLED screen, so you can operate the light with ease using these features. You can also use the free Godox Light smartphone app to adjust lighting settings or trigger effects from a distance. I found the app was very useful as I could adjust the light while it was illuminating me from a distance, which makes it the perfect piece of kit for a self-shooter.

Godox RS100Bi: Performance

To test the Godox RS100Bi, I took it to a TV studio. I used the studio’s row of ceiling-mounted cyclorama lights to light the backdrop curtain, and used the RS100Bi as my key light, mounted on a lighting stand at approximately 26 feet (8m) away. When the RS100Bi was turned off, I was in silhouette, so I was easily able to demonstrate the difference that the RS100Bi’s output made during my test shoot. If you watch the supporting video that accompanies this review, then you’ll see the light in action!

The RS100Bi was easy to set up. I screwed the supplied mount into the 1/4-inch thread at the base of the light and slotted the bottom of the mount onto a standard light stand. I then adjusted the light stand’s height and tilted the mount so that the light would illuminate me when I was standing on a stage in the center of the studio.

I started the test by manually operating the RS100Bi using its rear panel controls. It was a simple matter to press the On switch, and (as with most Godox LEDs) I then had to rotate the main dial to turn on the light. This two-step button press/dial twist process ensures that the light doesn’t get turned on by accident on your way to a shoot, so you know that you’ll have plenty of battery power when you arrive on location. The little OLED screen makes it easy to see what setting you’re adjusting. Rotate the dial to toggle between CCT (Color Temperature) and DIM (brightness). Press the dial to select one of these options, then rotate it again to choose a specific color temperature or adjust the brightness. The brightness can be adjusted very smoothly and in fine increments of 0.1%. It was handy to refer to the runtime countdown on the display so that I knew I had enough battery power to conduct a thorough test shoot.

During my shoot, I used an iPhone 16 Pro to record my “talking to camera” pieces while being lit by the RS100Bi. I used an iPhone 17 to run the Godox Light app so that I could operate the LED remotely while standing in its illumination. I found it even easier to change the properties of the RS100Bi when using the app, as you’ll see from this review’s supporting video. I was able to trigger a variety of animated effects, such as Lightning, Broken Bulb, and Fire, with a tap and a few swipes on my iPhone’s display. You can also use the app to fine-tune the way the effects behave, such as making a Broken Bulb flicker more slowly.

The RS100Bi was so bright that at 100%, the highlights in the shot were blown out. I found that 50% was the perfect setting, even when the LED was shining at me from 26 feet away. This gave me the confidence that the RS100Bi would perform well (and for long enough) on a model shoot on location.

Godox RS100Bi: Verdict

If you need a portable LED that can illuminate a subject (such as a model) without the light appearing in the shot, then the RS100Bi will meet your needs. It’ll fit easily in your camera backpack and thanks to the 1/4-inch thread you can mount it on a mini tripod or use its supplied mount to attach it to a standard light stand. The handy runtime countdown on the OLED screen ensures that you know how long the light will shine on a specific setting, so you can adjust your settings on the fly to make sure the light doesn’t “die” before you finish the shoot.

The RS100Bi has a narrower CCT range than its more expensive RS100R sibling, and it lacks a couple of extra animated lighting effects, but the RS100Bi is cheaper and brighter, which should make it an attractive purchase.

Alternatives

The Godox ML series consists of a series of modular continuous LEDs. I use the term modular because you can attach a range of accessories to them, such as magnetically attached diffusers or a twist-and-lock ML-CS1625 soft tent (which is basically a little soft box). You can also power them wirelessly using a clip-on Godox ML-BA battery, or use the ML150Bi’s supplied ML-VMA battery plate to attach Godox or third-party V-mount batteries to the LED.

The Godox ML range starts off in terms of affordability and power with the palm-sized ML-40Bi. At the top of the ML range, we have the Godox ML150Bi. This is the bigger brother to the similarly specced Godox ML80Bi, a key difference being that the ML150Bi produces a much brighter continuous light source for photographers and videographers to enjoy, even in the brightest of outdoor locations.

Both the ML80Bi and the ML150Bi ship with an ML-Z Zoom Reflector, so when this accessory is set to spotlight, the ML80Bi can emit 29,600 lux. On the same reflector setting, the ML150Bi produces 61,054 lux. Time for your model to put on some shades!

The term "Bi" pops up a lot in this introduction. The entire ML series consists of bi-color lights, meaning that they can emit a range of light color temperatures in degrees Kelvin. The ML150Bi can be adjusted – via button rotation or a swipe of a slider in the Godox Light smartphone app – to emit light that has a color temperature between a warm 2800K and a much cooler 6500K.

Being able to control the LED’s color temperature means that you can complement existing light sources, such as dialing in a cool daylight temperature of 5600K to add fill light that’s compatible with the location’s natural outdoor key light.

If you need a more colorful light source (such as purples, greens, and reds), then you need to look for an RGB LED, not a bi-color one. I can recommend the Neewer HB80C for both creative color and Kelvin scale illumination, among other continuous LED options in our buying guide to the best video lights.

Godox ML150Bi: Specifications

Godox ML150Bi: Price

The Godox ML150Bi retails at $259/£229. Its weaker little brother, the ML80Bi, retails at $229/£203. So for only around $30/£30 extra, you can purchase a more powerful 150W LED (compared to the weaker 80W device). So on paper, it seems like a no-brainer to go for maximum power for an extra $30.

However, I do have a word of caution. The cheaper ML80Bi ships with a dockable ML-BA battery that matches the white design of the lamp. The more expensive ML150Bi doesn’t ship with the ML-BA battery, so you’ll need to power the ML150Bi by its supplied mains cable or use its supplied ML-VMA battery plate to attach a V-mount battery (not supplied). You can buy an ML-BA battery to power the ML150Bi, but that will add another $89/£73 to your costs.

Personally, I like the fact that you can power up the cheaper ML80Bi out of the box thanks to its supplied battery (after charging it via its USB-C cable). I did have a V-mount battery to attach to the ML150Bi’s adapter plate, so that was fine for my test, but bear this powering issue in mind when considering a purchase.

Godox ML150Bi: Design & Handling

After unboxing the Godox ML150Bi, it looks like an elongated version of the Godox ML80Bi, with the same distinctive plastic white body material. The bigger ML150Bi features extra grilles and ventilation holes to help dissipate the extra heat that its 150W produces (plus an internal fan is on hand to keep the lamp cool). As with its little brother, the ML150Bi has an identical control panel that has an On/Off button and a Mode button to jump between controlling color temperatures in CCT Mode or choosing animated lighting effects in FX Mode.

A ridged plastic control wheel enables you to scroll through various menu items or adjust the frequency of lighting flashes, for example, and a central Set button lets you commit to your desired settings. A little OLED screen tells you all you need to know about the properties of the currently selected mode, and you can use that to activate Bluetooth, which enables you to control every setting via the Godox Light smartphone app.

The control dial/button (or the Godox Light app) enables you to adjust color temperature between a range of a warm 2800K to a cooler 6500K, so you can mimic candlelight, a sunset, or average daylight with ease. There are also 11 animated lighting effects – Lightning, Flash, Cloudy, Broken Bulb, TV, Candle, Fire, Fireworks, Explosion, Welding, and SOS.

As it’s a bi-color light, the lighting effects can use a mix of warm and cold color temperatures – such as creating cold flashes of lightning using a color temperature of 5400K, or a flickering fire at 2800K. If you want to mimic the flashing blues and reds of an off-screen police car, then you’ll need an RGB-capable LED such as the Neewer HB80C (which has 18 lighting effects, compared to the 11 from the ML150Bi).

The rear of the ML150Bi is initially hidden by a white plastic panel. At first, it was a bit of a challenge discovering how to remove the panel, but all you need to do is slide it up. Behind the panel are docking clamps that enable you to connect the LED’s body to a Godox ML-BA battery (not supplied). Fortunately, the kit does ship with the Godox ML-VMA battery plate, so I was able to pop a Neewer PS099F V-mount battery onto the plate and power the light during my test shoot.

Also included in the sturdy carry case that ships with the ML150Bi is an ML-Z Zoom Reflector. This mounts onto the front of the LED and can be rotated to create a wider or narrower (and more intense) beam of light. The front of the reflector is magnetic, enabling you to easily attach diffusers to subtly change the light’s properties. The Godox ML-D diffusers (sold separately) are designed to pop straight into the reflector. I found the diffusers to be a bit too subtle when out in a busy city location, but they may be more attractive (and more noticeable) if you’re shooting in a studio against a plain backdrop.

Godox ML150Bi: Performance

Since the ML150Bi didn’t ship with a battery, I popped on its supplied adapter and slid a Neewer PS099F V-mount battery I already had onto it. The Neewer battery’s display informed me that it was 80% charged, so I thought that would be more than enough power for a one-hour test shoot with Maddy, the model.

The ML150Bi’s sturdy black and branded carry case fitted nicely into my Gomatic 25L Camera Backpack, alongside a variety of accessories such as mini tripods, a Hohem iSteady V3 Ultra gimbal (to record my intro for the video review), and a spare iPhone 17 to capture some B-roll clips for my video review. The Neewer V-mount battery fitted in there too, so I found the backpack quite heavy to carry as I wandered through London to my shooting location – the Barbican Centre.

I’d previously tested the smaller Godox ML80Bi on a model portrait shoot in the Barbican Centre, so I decided to repeat the shoot with the ML150Bi. The weaker ML80Bi needed a Fresnel lens attachment to boost the light when shooting outdoors. The more powerful ML150Bi did not!

I started by using the bright sun as a key light, but this plunged parts of my model’s face into harsh, contrasting shadows. I was then able to position the ML150Bi on a lighting tripod to fill in the harsh shadows with a complementary daylight color temperature. I also enjoyed placing the LED behind the model to create a rim light that helped her stand out from the background. This extra light source helped "sculpt" her face with a key, fill, or rim light, giving it a more interesting three-dimensional look.

To make the ML150Bi’s light a little less harsh, I removed the reflector and slotted the Godox ML-CS1625 Soft Tent onto the LED, courtesy of the soft box’s supplied Godox mount adapter. The soft box reduced the intensity of the LED, so I needed to place the light in the shot while I snapped portraits for this review with my iPhone 17. It was an easy job to paint out the light stand and its shadow using Photoshop’s Generative Fill tool, so I was happy to keep the light in the shot when capturing wide shots of the model. For tighter portraits, I was able to keep the ML150Bi out of the shot.

I then moved into the shadow of the tall Barbican towers, which had a cooler, darker, and flatter lighting that was no good for portrait photography. Fortunately, after adjusting the LED via its tactile switches and dials, I was able to summon a strong golden-hour sun to be a key light in the gloom. This enabled me to capture some attractive sunset portraits (and slow-motion video of the model’s hair being backlit by the "sun").

Finally, I headed to a darker shaded area and used the ML150Bi as a harsh key light to capture film noir-style portraits with stark shadows. I also experimented with using some of the lighting effects while shooting video on the iPhone 17. The Broken Bulb effect in particular worked well with the grungy mise en scène of the urban environment, so these lighting effects should make the ML150Bi appeal to video creators as well as portrait shooters.

My hour-long shoot took place in four different locations that were relatively close together, so the light was on more than it was off! Given my V-mount battery started at 80% charge, I was lucky to have around 4% of power left at the end of my shoot, so I’d certainly recommend taking a spare battery along with you, especially due to the 150W power of the Godox ML150Bi.

I have one little niggle regarding the performance of the Godox ML150Bi. I turned the LED off between the various location setups to save battery power. To turn it on, you need to press the power button. A little icon appears on the OLED screen indicating that you then need to rotate the plastic dial in a clockwise direction to activate the LED. Sometimes this operation didn’t work, so I needed to press the power button again and have another go at rotating the dial. This did slow me down a little.

Oh, there was also a little bright orange rubber stopper that fitted onto the end of the metal lever that releases objects mounted to the front of the LED, such as the supplied reflector. This rubber stopper kept dropping off and, as I expected, it got lost during the shoot. However, it doesn’t affect the performance of the light in any way, so it is negligible, but I do like to be thorough in my reviews.

Godox ML150Bi: Verdict

I enjoyed using the Godox ML150Bi during my model portrait test shoot. As it was considerably more powerful than the ML80Bi, I could travel lighter without needing the brightness-boosting Fresnel lens that the ML80Bi required when shooting outdoors. However, I missed the Godox ML-BA battery that is supplied with the ML80Bi. My Neewer V-mount battery powered the ML150Bi throughout the shoot, but its bulky black casing looked out of place against the LED’s white body. Godox’s white ML-BA battery blends much more neatly with the white plastic bodies of its ML series LEDs, although buying one to power the ML150Bi would cost an additional $89/£73.

All in all, the Godox ML150Bi deserves a place in your kit bag as it elevates portraits from good to great. You can fill in harsh shadows or add a key light that accentuates the shape of your model’s face. Videographers might find the animated effects useful for adding drama, but the lack of RGB lighting effects (such as Squad Car) means that the effects from this bi-color light are less useful.

Alternatives

I have been using Zhiyun's lighting gear for a few years now, and I have been continually impressed by the power output, design ethos, and affordability. So, when I got the chance to try out the brand's latest portable light, designed to work like a "miniature Arri SkyPanel X", I jumped at the chance.

The Fiveray M60 Ultra is a pocket-sized panel light with a staggering 60W output. It has RGB functionality, an all-in-one design with a sizable battery, and magnetic attachments for diffusion and light-shaping.

With an MSRP of just $129, it seems like a great deal for anyone seeking powerful continuous lighting in a portable package. Is it too good to be true? I've been using it for the past few weeks to find out.

Specifications

Price

The Zhiyun Fiveray M60 Ultra has an MSRP of £129 / $129 / €139 from Amazon or Zhiyun's official store, which is very affordable considering the features on offer here.

The closest panel light I could find, matching the 60W output and RGB functionality, is the Amaran Pano 60C, which currently retails for $165. However, this alternative doesn't have a built-in battery, and it's significantly larger.

You have far more options if you're open to COB lights, but if you're keen on a compact panel light, the M60 Ultra stands out as a unique option.

Design & Handling

One of the things I really like about Zhiyun products is that they don't try to blend in. Not every piece of pro camera equipment needs to be an anonymous black rectangle, and love it or hate it, the M60 Ultra certainly looks unique.

This light is around the same size as a modern smartphone, and about as thick as three of them stacked on top of each other. It comes with a beige/cream housing, with bright orange accents and contrasting black sections. It gives me a sort of retro-futuristic, rugged, and utilitarian vibe. It wouldn't look out of place on Tatooine.

The M60 Ultra is designed with cooling in mind, and despite its high power output and small size, there's plenty to ensure it doesn't get too hot. There are vents cut into almost every surface, a large fan in the centre of the rear panel, and the insides look to be mostly filled with heat sinks.

The front panel is entirely transparent, with no bezels, and a strong magnet in each corner. It almost looks unfinished, as you can quite clearly see the LEDs and PCB through the frosted plastic front panel. However, when you attach the magnetic modifiers, it looks much more polished. There's a honeycomb grid and a plastic domed diffuser included in the box, both of which can be magnetically stacked on the front panel.

On the base, there's a 1/4-20 tripod mount and a USB-C port for charging. I was pleased to learn it charges very quickly, too - supporting up to 18W speeds with a suitable USB PD plug, but you don't get one in the box, only a USB-C cable.

The unit is turned on and off via a large orange rotating switch on the top side. It's well protected by raised plastic lips around the edge, so you'll certainly never turn it on or off by accident, but it's quite stiff and a little fiddly. Still, I'd rather it be a little fiddly than open my backpack to find a blisteringly hot light that's been running for hours.

The rest of the functions are controlled via two control knobs and a tiny colour screen on the rear. Navigating the numerous options on this tiny screen can also take some getting used to, but it's well thought out, and after some trial and error, I managed to adapt. I really like that you access just about everything on the light itself, rather than needing to rely on a smartphone app, just expect a bit of a learning curve when trying to remember which knob does what.

That said, the M60 Ultra also supports wireless control via the ZY Vega app for Android phones. There's not currently an iOS equivalent, but Zhiyun says it's in the works and should be available in the near future.

The app is really handy, especially if you're trying to dial in a specific colour, as it gives you multiple tools for doing so. You can point your phone's camera at an object or another light, and it'll do its best to match it. I was really impressed with how quickly the light responds to changes in the app; it's almost instant. And if you have multiple Zhiyun lights, it gets even better, as you can control all of them at once.

Overall, I'm very impressed with the build quality. Despite being made from plastic and full of airflow holes, the M60 Ultra feels solid and robust. Of course, with such a cooling-focused design, I don't expect it to have any kind of water resistance, but you can't have everything in a footprint like this.

Performance

Considering that it can fit in your pocket, the Fiveray M60 Ultra is astonishingly powerful. It wasn't long ago that a light this powerful would have been a hefty unit requiring mains power; it's awesome to see the progression.

I've been using it almost every day for the past few weeks, either lighting my product shots for reviews like this or lighting talking heads and top-down shots in my YouTube videos.

For product photography, I mainly used the light without any diffuser, and I found I rarely needed to exceed 10% power. It puts out a fairly focused beam, which I found surprising, given its panel shape, and any spill can be reduced further using the magnetic honeycomb grid.

For talking head shots, I used the M60 Ultra as a key light with the supplied plastic diffuser. It does a great job of softening the light, but I was shocked at how much it reduced the output. In a well-lit room, I had to almost max it out to get the desired result. Of course, in a dimmer location, you wouldn't need to push it quite so hard.

The built-in fan only activates when it's needed, and it's barely audible when it does. I usually shoot in the same room as my desktop PC, and I never noticed the sound of the M60 Ultra over the constant background hum of the PC's fans. I often use Zhiyun's older pocket light, the Fiveray M40, and that fan is significantly louder, so I'm happy to see improvements in this area.

The M60 Ultra colour temperature can be adjusted from 2500k to 10,000k in its standard CCT mode, so you shouldn't have much trouble matching existing light sources. It also has full RGB support, and if you switch into HSI or RGB mode, you'll have millions of colours to choose from.

The RGB mode is a great way to add a splash of colour to an otherwise uninspiring scene. I found it really useful to spruce up talking head shots with a colourful wash on the background. It's still bright when using a colourful hue, but not as bright as the white mode, so I found that it's best used without any diffusion in front of it.

The M60 Ultra also has some special effects built in, and they're all somewhat customisable. You can replicate the look of police sirens, a fire, a flickering lightbulb, fireworks, and more. For most people, these effects will be of limited use, but they're quite impressive. If you're working on a short film, they could come in handy.

The light has a built-in 4500 mAh battery, and Zhiyun claims that it'll get you 160 minutes of runtime at 20% brightness. If you max it out at 100% brightness, it should still give you over 30 minutes on a charge.

As mentioned, I was usually running the M60 Ultra at less than 20% brightness, and the battery life really impressed me. That said, if you need the maximum output for longer, that's no issue, as it can be charged while in use. Zhiyun recommends a 60W or higher power source for this, and my 100W Sharge power bank was able to keep it running at full power without issue.

Verdict

If you need a super-powerful panel light that's compact and portable, few options are as compelling as the Fiveray M60 Ultra. It's reasonably priced, the battery life is solid, and it's very easy to transport.

Most 60W portable lights tend to be COB lights with a harsher output; pocket panel lights with such a powerful output are few and far between. Sure, there are products like the Amaran Pano 60C, but that's much larger, heavier, more expensive, and requires mains power. The M60 Ultra stands out as a unique offering.

So, if you're finding that your pocket panel light doesn't quite have the guts to keep up with your shooting needs, the M60 Ultra is very easy to recommend. I've had a great time shooting with it, and I don't plan to stop anytime soon.

Alternatives

The market for lighting is pretty saturated, with options for all levels of budget and with an astounding variety of capabilities, so you’d think that advances in the tech might be done with. To an extent, there is some truth in that, with lights now mostly being all LEDs and with a fairly predictable range of intensities, but that’s only a part of the picture. Size, weight, and heat are large elements of lighting, as are other features like effects, the interface, and overall user experience, and it is here that companies seem to be putting their focus.

Amaran lights come in all shapes and sizes, with the 120-watt models being very popular, so what has Amaran done with this new model, or is it just a rehashing of previous offerings? Well, I have used and own many lights, from a range of developers, so I was keen to discover what, if anything, is better about the Ray 120C.

Amaran Ray 120c: Specifications

Amaran Ray 120c: Price

At around $255 / £255 at the time of writing, the Ray 120 falls into the more affordable range of lights, making it perfect for small studios, indie filmmakers, and creators, but it’s even more of a good deal when you consider it ships with a case, a softbox with diffusion and grid, as well as a handgrip. It’s available now from most common video and photography resellers.

Amaran Ray 120c: Design & Handling

You’d be forgiven for thinking this might be a rehoused, slightly updated version of older lights, but the Ray is actually a completely new device, and it feels it in every way. The casing itself is a very high-quality plastic that looks and feels great. The body is very slim too, at around an inch thick, plus the bowens mount, it can easily fit into spaces other lights can’t. It’s also IP56 rated, meaning you don’t need to fret if the weather changes on a shoot. Oh, and if you are shooting away from mains power, you can keep the Ray alight with a USB-C cable, either from Amaran’s own battery grip or using the supplied handle, which has space for the power brick or a battery bank, held in place by a hefty rubber strap. I’ve been using this on a light stand indoors too, with the power brick held in place there. The AC in is threaded too, so no anxiety about pulling on the cord for accidental cutoffs.

Mounting the light is well catered to, with both a 3/8th and 1/4 20 combo with Arri locating pin holes and Amaran’s Ace E lock, which the supplied handle uses.

To get set up, you can either dive straight in using the onboard controls or you can pair it with the Amaran app, which is done automatically if your phone has NFC, via a single tap, which works flawlessly, and I hope more devices start doing this.

There are a few controls on board, but the interface is very well designed. A power, back, and confirm button are all that’s needed, paired with the scroll wheel, which sits on the corner for easy access from different angles. This wheel sounds like a gimmick, but in real-world use is one of the nicest I’ve used. It has haptics built in, and when making small adjustments, it feels like a regular clicking control knob, but when you want to make larger adjustments, or scroll to the start or end of a range, give it a firmer spin, and it acts like a motorised pot, spinning freely. You can either let it run its course or touch it at any point to stop it. It’s very intuitive and is one of those quality of life details that makes more difference than you might imagine.

The Ray has a small colour screen for navigating menus and changing settings. It’s bright and clear and easy to read in all conditions.

The front face has the large COB, which has Amaran’s new light engine (more on that later) surrounded by a standard Bowens mount for your modifiers. This does get pretty hot when the light is on, and there’s a warning suggesting the use of gloves.

Lastly, the rear face has the vents for the fan, which is nearly silent. Even in smart mode.

The Ray 120c is well built, with excellent handling and some really nice touches that do make a real difference. I’ve been using an older Amaran 120 light for interiors, which I’ve been very happy with, but the new Ray 120c is a huge upgrade in terms of handling and, as you’ll see, performance.

Amaran Ray 120c: Performance

Let’s start with the menus. A double click of the power button turns the light on, and within a second, the menu appears. You get both icons and text on a horizontally scrolling menu, a press of the confirm button opens up the sub menu, and the back button takes you up a level. The haptic scroll wheel changes settings and highlights menu options. All very quick and easy.

Of course, you can also use Amaran’s app to control the light, as well as set up groups and scenes, etc. The app is very stable and logically laid out, and it’s great to have options for various setups.

The actual COB and its output are all new here, too, not a repackaged legacy light, and it makes some significant improvements upon previous generations. The new OmniColor light engine has more individual colours to start with, making it far more accurate in terms of colour reproduction, so matching lights or daylight is much better. With an SSi in the upper 80s, it’s a good deal more accurate than the low 70s I get from the last generation. This may not seem massive, but in use, it makes a big difference, outputting far more natural colours, and if that’s not enough, say you're using modifiers that skew the hue a little, there is an option for green/magenta tint too.

Then there’s the power. The Ray 120c may be rated at the same wattage as previous 120 lights, but the output in lux is almost double, at 6,850 lux at one meter. That’s an impressive number and enables the Ray to take on jobs that would have previously meant much more powerful lights, plus the weight, size, heat, and power consumption they bring with them.

The Ray has a number of operational modes from CCT to CCT+, which widens the range to 1,800k to 20,000k, to RBG and HSI.

Noise can often be a problem with lights on set, as fans come on as the lights warm up. The Ray has a silent mode, which throttles the output to 20%. That might sound too limiting, but when you consider the output it’s capable of, that isn’t too bad. That said, when set to smart mode and the fan does come on, it is almost imperceptible even a couple of feet away, so unless you mount it right next to your microphone, you should be fine.

For studio shooters who prefer to have lights set up for regular use, there is a mode on a single switch to do this, which is handy to have. I also noticed that the wireless range is really impressive and very stable, even at a maximum of 80 meters

The size of the Ray 120c, even with the included 30cm softbox attached, makes it ideal for smaller spaces, or for traveling with, and considering what it offers, I’d suggest this over pretty much any other light.

Amaran Ray 120c: Verdict

There's really not much to complain about here. The modifier mount gets a bit hot, which is the only sticking point, and that's not even close to a deal breaker. The Ray 120c does exactly what you want of it, plus more, all with ease of control, plenty of modes, and extra tools to help it sit in any workflow. The build is great, the interface intuitive, and the output is better than the price would suggest. Highly recommended.

Alternatives

One of the easiest ways to improve the quality of your ‘talking head’ smartphone video footage is to add an LED light to your setup. In low light, your smartphone-sourced video footage may suffer from noise artifacts or look fuzzy and pixelated. The AiXPi Ring Light 10" offers a highly affordable way to give your smartphone camera much more light to work with, leading to better-looking footage and higher production values.

I’d not tested and reviewed an AiXPi product before, but this China-based company produces a wide range of ring lights, aimed at meeting the lighting needs of YouTube content creators and influencers without blowing their budgets. The AiXPi Ring Light 10" is designed to hold smartphones with a universal spring-clip mount, and it had no trouble holding my iPhone 17, even in its protective case.

But will this be enough to earn its place as worthy of inclusion in our best ring lights buying guide? Well, let's see!

AiXPi Ring Light 10": Specifications

AiXPi Ring Light 10": Price

The AiXPi Ring Light 10” officially retails at £24.99 on the Amazon UK website, though the official AiXPi Amazon Store was offering it for £16.95 at the time of writing, which makes it a more attractive purchase.

It is also available in a variety of alternative configurations, such as with a taller floor-mounted tripod, for a little extra. However, the AiXPi Ring Light 10” was listed as ‘currently unavailable’ on the US and Australian Amazon stores, suggesting that they are awaiting stock.

With its mixture of plastic and metal components, the phrase ‘you get what you pay for’ certainly applies to the AiXPi Ring Light 10". The illumination from the 120 LEDs in the 10-inch plastic ring does make a considerable difference to the quality of your video footage, but as we'll see below, I have concerns about the build quality, and the smartphone mount’s ballhead in particular.

AiXPi Ring Light 10": Design & Handling

The main component of the AiXPi Ring Light 10" is a ring constructed of a lightweight plastic ring mounted with 120 LEDs (light-emitting diodes). However, much of the kit is made of metal, including its tripod legs and the bodies of the two ball-head mounts that enable the ring light itself or a smartphone mounted within the ring to be tilted.

The LED ring light can be rotated through 360º on its ballhead mount, though you’ll most likely want to point it in the same direction as your smartphone. After tilting the smartphone on its mount, you need to tighten the ballhead’s hinge with a small plastic handle. This handle feels rather flimsy, and after rotating the mount to change my iPhone from landscape to portrait orientation and then back to landscape, I found that the ballhead had become very loose, and I struggled to tighten it back up again. While I eventually did get the ballhead tightened sufficiently to keep the phone in position, I’m not confident that this small but important tightening handle is built to last.

As the ring light’s LEDs are powered by a USB cable plugged into a power source, there’s no danger of the kit running out of power during a live streaming session, for example. The cable features a small control unit containing four buttons: an on/off switch, '+' and '-' buttons to toggle the LED brightness up and down in 10 increments, and a color temperature control that toggles between the unit’s three presets, achieved by turning separate cool or warm LEDs on or off to create a warm or cool mix.

There’s no way to dial in a specific color temperature in CCT values. The border of each button lights up when you plug the USB cable into a power source, though only the On and '+' buttons seem to illuminate.

AiXPi Ring Light 10": Performance

To test the AiXPi Ring Light 10”, I placed it on my desktop and connected it via its USB-C power cable to my MacBook Air. As you’ll see from my supporting video, I started the test by talking to my MacBook’s built-in FaceTime HD camera using available light from my office window to illuminate my face. The footage looked flat-lit, slightly soft, and had low contrast.

By popping my iPhone 17 into the universal smartphone spring mount in the centre of the ring light, I was able to send a wireless feed from the iPhone to my Mac (courtesy of the QuickTime app, which I used to make the supporting video for this review). This iPhone footage was far superior to the clips captured by my MacBook’s built-in camera, with a higher contrast, more vibrant colours and sharper details. I then tapped the On button on the AiXPi’s cable to fire up the 120 LEDs within the plastic ring surrounding my iPhone. By default, the illumination was too bright to look at comfortably, so I tapped the '-' button to dial down the intensity of the LEDs by a few increments.

The daylight from my window was a little cool, so I was able to toggle between the ring light’s three colour temperature increments to get a compromise between the warm tungsten interior light of my office and the cooler daylight from the window.

To start with, I mounted my iPhone horizontally, so that it was filming me with its superior back-facing cameras. The iPhone’s display wasn’t visible to me, but I could monitor the composition of my face (and check exposure and color temperature) as the iPhone’s footage was being fed wirelessly to my MacBook’s display.

I then decided to record directly onto the iPhone’s front-facing camera in portrait mode. This involved removing the iPhone from the LED’s clip mount, then removing the mount itself and re-attaching it via a different screw socket. I also had to loosen the smartphone holder’s ballhead so the holder could tilt by 90º, enabling me to place the iPhone in a vertical position. Many social media content creators will want to shoot vertically, so this was an important part of my test. However, as I mentioned in the handling section, the smartphone holder’s ballhead can become very loose, and it takes a bit of time to get it tight enough to hold the phone in a specific position.

AiXPi Ring Light 10": Verdict

The AiXPi Ring Light 10” can make a considerable improvement to the quality of your selfie footage; however, you are very limited in adjusting its color temperature to complement the available light. An adjustable ballhead enables you to orient your ring light-mounted smartphone to shoot in portrait or landscape orientation, but the flimsiness of its tightening handle doesn’t bode well for the product's longevity. I feel that the smartphone mount’s ballhead is the Achilles’ heel of this otherwise effective and highly affordable ring light.

Alternatives

The Lume Cube Studio Panel Lighting Kit is a portable two-light setup built around a pair of bicolor LED panels that boast Lume Cube’s Edge-Lit technology. The California-based Lume Cube has made a name for itself within the content-creation sphere thanks to a plethora of well-regarded lighting solutions, including the RGB Tube Light Mini, RGB Panel Pro 2.0 and, of course, the product that started it all, the Lume Cube (now in its second generation).

If you’re looking for the best photography lighting kit, the Studio Panel Lighting Kit is designed to cater to those looking for an affordable, portable, and continuous-lighting setup. And while flash is unmatched in terms of power and arguably control, continuous lighting is favored for its flexibility in both photo and video uses, as well as its simple what-you-see-is-what-you-get workflow.

I’ve reviewed plenty of Lume Cube products over the years and regularly use Lume Cube lighting for toy and product photography. So, I was extremely excited to get my hands on the Studio Panel Lighting Kit and see how it fared on test.

Lume Cube Studio Panel Lighting Kit: Specifications

Lume Cube Studio Panel Lighting Kit: Price

The Lume Cube Studio Panel is available in four packages: Studio Panel, $149.99 (approx £110/AU$212), Single Studio Panel Lighting Kit, $219.97 (approx £162/AU$311), Studio Panel Lighting Kit, $399.99 (approx £295/AU$565), Studio Panel 3-Point Lighting Kit, $599.99 (approx $442/AU$848). Each kit comes with a remote and enough Tilt Mounts and power adapters to match the number of lights. With that in mind, the Studio Panel features a single light (no barn doors), the Single Studio Panel Lighting Kit features a single light and stand, the Studio Panel Lighting Kit features two lights and two stands, and the 3-Point Lighting Kit features three lights and three stands.

This is roughly what I’d expect for a Lume Cube product. The company sits somewhat in the middle ground in terms of pricing and quality. You can find panel lights for much cheaper on Amazon, but don’t expect to receive the same amount of light or hardware quality. I bought a Raleno Video Light a few years ago, which I still use, and it cost me around £55 (approx $75 / AU$106) for the panel, mount, and adapter. The Lume Cube Studio Panel is far superior in terms of both build and light quality.

Lume Cube Studio Panel Lighting Kit: Design & Handling

As mentioned, the Lume Cube Studio Panel occupies something of a middle ground in terms of LED lighting solutions. It looks like a lot of the cheaper LED panels you buy on Amazon, but comparing it to my own Raleno panel, it’s not only superior in terms of the light it produces, but it’s built better, too. It’s much more solid in the hand.

And that extends to the lighting stands, which can be set from 18 to 70in tall. I was expecting some very cheap stands for the price, but was pleasantly surprised by how robust they are. They could do with a little bit of tightening in places, but overall, they’re good quality and a step up from a cheap, unbranded lighting stand.

The legs can be positioned in a wide stance, too, so there’s no fear of the light toppling (not that the light panels are particularly big and heavy). I wouldn’t rate them for arduous outdoor use, but they’ll suffice on reasonably flat ground, and you could always use a beanbag or counterweight to make them more stable. I would, however, suggest caution in wet or sandy locations because these stands are not built to withstand rugged conditions.

The biggest disappointment is the Tilt Mount. It’s serviceable, but the largely plastic construction makes it feel cheap. This is evident when tightening both the tilting axis and the screw that connects to the light panel. In both instances, they never feel 100% tight; as such, they’re prone to overtightening. The latter is particularly frustrating, because it uses a small plastic wheel that’s difficult to tighten/untighten. This is the only component I’d want to upgrade within the kit.

The panel itself is nice and solid, as are its physical controls. I’ve been slightly critical of Lume Cube’s physical controls in the past, but I’m pleased to say that I like the Studio Panel’s controls. In a world where electronics tend to have tiny switches or small buttons that you have to long-press, a simple, sizable on/off switch is very welcome. The color temperature and brightness wheels are similarly simple and get the job done, too.

The roughly 1.5-inch LCD screen is clear enough, and the usual battery indicator, which shows how long the light will last at its current brightness, is always useful. Apart from the single Studio Panel, the rest come with barn doors. They’re plasticky like the tilt stand, and I’m slightly concerned they could begin to sag after constant use, but they serve a purpose. They can also be easily removed since they just clip on/off the panel.

I like the remote control. It feels decent quality for what it is and is certainly a nice addition to have. The power adapter is what you’d expect at this price range. I found the lead to be long enough for home studio use, but you’ll need to pair it with an extension lead in a larger studio setting.

The final item is the carry bag, which is only included in the Lighting Kit and 3-Point Lighting Kit. It’s a surprisingly nice bag for the price range. The outside is made from a durable canvas-like material with a little padding on the inside to keep everything safe. You would want to shove loads of heavy kit on top of it, but it’s great for carrying the lights to and from a shoot in dry-ish weather.

However, while it has provision for everything within the two-light Lighting Kit, the 3-Point Lighting Kit inexplicably comes with the same bag, so you’re left with nowhere to stow the third light and its accessories. Even if you’re just using the lights in a home studio, it would be nice to have the option to pack them away in the bag. Because this is a review of the standard two-light kit, I won’t be marking it down, but if you are considering purchasing the three-light kit, this is a substantial oversight as far as I’m concerned.

Lume Cube Studio Panel Lighting Kit: Performance

The first thing I noticed when I turned on the Lume Cube Studio Panel is how bright it is in comparison to my other LED panels. This is presumably down to Lume Cube’s proprietary Edge-Lit technology. Each Studio Panel features 200 inward-facing LEDs with a built-in diffuser. According to Lume Cube, this provides “perfectly balanced light that’s powerful but soft with even coverage.” And I have to agree. The panel emits an attractive beam that can be ramped up without ever feeling overly harsh.

It’s important to note that while the light is powerful enough for some limited daytime outdoor uses, I wouldn’t recommend it for regular outdoor use. For starters, you cannot compare a 10-inch LED panel to a powerful strobe light. This isn’t a light that’s going to compete with the sun, nor is it a light you’ll want to position too far away from your subject (due to dropoff). It’s also not rugged enough for regular outdoor use.

The stands are good quality, but I wouldn’t want to be using them regularly on wet, muddy, or sandy surfaces. And while the 80-minute battery life at full power is decent, a light like the Rotolight Anova PRO 3 would be a more suitable outdoor choice because it has a removable battery, so you can bring spares on the shoot. If the Lume Cube Studio Panel runs out mid shoot and you’ve no access to a power supply, you’re stuffed.

What the Lume Cube Studio Panel does have in its favor is its portability. If you’re an outdoor content creator looking to carry around a light panel as an emergency light source for when the sun begins to dip, conditions are flat and overcast, or when it begins to get dark, and you want to squeeze out a few more shots, I think the Studio Panel could provide the solution.

In a controlled, indoor environment, the Studio Panel really comes into its own. I shoot a lot of product photography using my Raleno Video Light and a few smaller Lume Cube lights, and the Studio Panel Lighting Kit immediately bested my setup and slotted effortlessly into my workflow.

The beam is more than powerful enough for product photography, given that the lighting is often placed closer to the subject. However, you can certainly use the kit to light human subjects in a controlled environment.

You get a versatile kelvin range of 2700K – 7500K and a CRI rating of 96+, so you’ve plenty of color temperature wiggle room, and you can be sure that your subject is illuminated accurately. Some might be disappointed by the lack of RGB colors and special effects present in other Lume Cube lights, such as the RGB Panel Pro 2.0 and Tube Light Mini. And while a more feature-rich light wouldn’t be unwelcome, something I really like about the Studio Panel is its simplicity.

In a world where most tech strives to do more, the Lume Cube Studio Panel is simple in both its feature set and execution. The panel’s three controls make operation a breeze, and the remote control is a fantastic extra that’s simple to use and super responsive. You can set up to 9 channels. To set a new channel, you hold down the ‘CH’ button on the panel, wait for the ‘CH’ on the LCD screen to flash, and then use the color temperature wheel to cycle through the channels.

And if you’re really set on colorful lighting, the presence of barn doors means that you can easily attach colored gels if you want to. Having barn doors is a nice addition, providing extra control, but as mentioned, I do worry that they might loosen over time. Already, they don’t lie completely flat over the lighting panel when stowed.

That said, it’s a shame the Studio Panel isn’t compatible with the Lume Control app. I tend to operate my lights via the on-board controls anyway, but I do think the app works very well and is a useful asset to have. I’m sure Lume Cube’s intention was that the remote fills that gap, but for existing customers who have a large number of Lume Cube lights, this does feel like an unnecessary omission.

Another boon for simplicity’s sake is that these lights can be run via mains power. I totally get why ultra-portable LED lighting solutions don’t come with an AC adapter – it defeats the purpose – but there’s nothing worse than settling into a photography session only for a light to run out of juice.

Having the option to use an AC adapter reduces so much hassle. If you forget to charge the device or the shoot is taking longer than expected, you simply don’t have to worry. This speeds up your workflow, too. When I’m using my smaller lights, I’m constantly switching them on and off to conserve power, but with the Studio Panel plugged into the mains, I don’t have to worry.

Lume Cube Studio Panel Lighting Kit: Verdict

If you’re looking for an LED panel lighting kit that you can rely on, long term, then the Lume Cube Studio Panel Lighting Kit is a great shout. Not only does it come with everything you need to get started, fresh from the box, but the meat of the setup – light panels and stands – are great quality for the price. The kit is let down a little by a pair of cheap lighting mounts and while the barn doors fare better, I’m not convinced they’re built to last.

Still, what really counts performs well. The LED panels emit strong, even beams of light and while you could be disappointed by the lack of RGB features, the unbloated feature set makes each light easy to set up and use. And I like that. I am disappointed by the lack of Lume Control app support, but the decent remote control does at least half-fill that gap.

I wouldn’t rate these lights for rigorous outdoor use. For starters, they’re not really powerful enough, and secondly, they’re clearly not built for rugged outdoor use. However, that’s not to say that on-the-go content creators can’t make use of them outside in a pinch. I’m also pleased that they run on AC power. This really elevates them to studio status, and while they run on batteries, the ability to plug them in and not worry about losing a light mid-shoot is a huge boon.

Alternatives

The Photography & Video Show has always been a calendar highlight for photographers, but if you still think it’s just about mirrorless launches and lens announcements, 2026 is shaping up to prove otherwise.

One of the standout additions to this year’s program is a paid workshop led by Finnish director of photography Jenni Suitiala, and it firmly plants the show in serious filmmaking territory.

Suitiala is no armchair educator. She’s a working cinematographer who moves fluidly between documentary and narrative film, with credits spanning documentaries screened on Channel 4 and Sky, as well as feature films and high-end television lighting crews. Alongside her production work, she serves as a visiting tutor teaching lighting and cinematography at multiple universities and NFTS North, bringing real-world, on-set experience straight into the classroom. That blend of practical craft and academic rigor is exactly what makes this workshop one to watch.

At The Photography & Video Show 2026, Suitiala will host an exclusive session on March, 15 2026 from 11:00-12:30 in the Toute Suite (just outside the Hall 5 of the NEC, where the main show is taking place). 

This session which will focus on how to set up and light a master documentary interview. This isn’t theory-heavy fluff. It’s a practical, demonstrative workshop designed to show how a professional DP approaches shaping light, controlling contrast, and building mood in a documentary setting where time, space, and resources are often limited. For anyone who has ever struggled to make a talking head look cinematic rather than flat, this is the kind of session that can shift your entire approach.

What I particularly like about this addition is what it says about the direction of the show. Yes, there will be cameras, lenses, tripods, and all the kit we obsess over. But by platforming a working DP with credits across broadcast and film, The Photography & Video Show is making it clear that storytelling, lighting craft, and professional-level filmmaking are just as central to the event. It’s a reminder that the industry doesn’t stop at stills, and neither should we.

• The Photography & Video Show 2026: everything you need to know
• Get 20% off tickets of your tickets with our exclusive money-saving code!

If you’re planning to attend, it’s important to note that this is a paid workshop, costing £24. You’ll need to purchase a ticket for admission to The Photography & Video Show 2026, and then book your place separately on Suitiala’s workshop.

Spaces are limited, and sessions like this tend to fill quickly, especially when they promise hands-on insight you can immediately apply to your own work.

For filmmakers, hybrid shooters, and photographers who are increasingly stepping into motion, this feels like one of those quietly essential sessions.

A well-lit interview can elevate a documentary from competent to compelling. Learning how a seasoned DP builds that look, step by step, is the kind of investment that pays off long after the show floor lights dim.

Find more information on The Photography & Video Show website

You can book for additional workshops and photo walks using this link.

At the start of 2025, I tested and reviewed a couple of LED lights from Neewer. One of them – the Neewer AS600B 600W Bi-colour LED – was a very powerful and heavy 600W studio light, weighing in at 5 kgs (11 lbs). It was so heavy that it shipped with a wheeled carry case.

The subject of this review – the Neewer PL60C – is a much lighter, less powerful, and much more affordable 60W LED. Its lighter weight was fortuitous, as I couldn’t access my usual studio car parking space, so I had to carry the light and my camera gear for half a mile to the studio!

Like the Neewer AS600B, the PL60C is designed for studio use due to its requirement to be plugged into the mains (though you could buy a V-mount battery and a D-Tap cable if you did need to power it on location). For a more location-friendly Neewer LED, check out the Neewer HB80C, which has a more convenient internal battery for shooting outdoors.

Specifications

Price

The Neewer PL60C 60W retails at $209.99 / £158.99, which is a reasonable and competitive price for an LED of this specification, especially as it can produce a wide range of colours at the twiddle of a knob. As a 60W light, it’s more than powerful enough to add a strong key light to your subject, with a 23,000 lux output that kicks out the equivalent of 23,000 candles!

If you want to use a key light and a fill light to add a more three-dimensional ‘modelled’ look to your portraits, then you can pick up a 2-pack PL60C set for £312.80 on Neewer’s site. The 2-pack costs $459.99 / £288.79 on Amazon at the time of writing.

Design & Handling

Unlike the heavier and chunkier COB (Chip On Board) Neewer AS600B I mentioned in the introduction, the Neewer PL60C is a flat-panel LED, so it takes up far less space in the studio (and it’s also much easier to transport thanks to a branded carry case which features foam inlays that have been shaped to keep the lamp safe in transit).

The PL60C’s panel has 800 LED bulbs inserted into it, which cast a strong, wide, and even key light source onto your subject. The flat-panel LED unit is attached to a metal U-bracket with a socket at the base. This enables you to pop the light onto a studio lighting stand’s bayonet mount. You can then tilt the LED up or down via the U-bracket to suit your subject’s position. The front of the light has a set of aluminium barn doors, which you can adjust for a wider or narrower field of illumination.

On the rear of the light is a control panel that sits below two cooling fans (plus there’s a little plastic button to toggle between the three fan modes – Auto, Mid, and Mute). At the base of the rear unit is a power socket, which I used to power the LED via its supplied power adaptor, which I plugged into a studio’s wall-mounted power socket.

A colour LCD TFT (Thin-Film Transistor) display screen on the rear of the PL60C enables you to view a range of properties (such as the LED brightness and colour hue). A small plastic Mode button enables you to toggle between the PL60C’s six different light modes - CCT, HSI, RGBCW, Gel Mode, and FX Mode (more on these in the Performance section). You can then use two main control knobs to adjust a wide range of properties, such as choosing a specific industry standard lighting gel (from the Lee and Rosco scales) or fine-tuning a green or magenta tint, for example. The control knobs can also be pressed as buttons to change the property that you’re adjusting.

As well as the two main control knobs, there are four plastic buttons that can be used to trigger user-defined lighting presets. You can also select one of four dimming curves - Exponential, Logarithmic, S-curve, and Linear for use with DMX-controlled professional lighting set-ups. Another way to control the PL60C is via the Neewer app - more on that in the Performance section.

The whole unit is solidly built and mainly constructed from an aluminium alloy, but the two main plastic knobs (and the smaller inserted buttons) do feel a bit cheap. I presume these plastic components help keep the price down.

Performance

To test the Neewer PL60C, I took it to a TV studio. Unlike the super heavy AS600B 600W Bi-colour LED that I reviewed in the same location at the start of 2025, I was easily able to carry the PL60C in its carry case in my favourite 18L backpack, including accessories such as mini tripods, plus the two iPhone 16s that I used to record this review’s supporting video.

At 600W, the bigger Neewer AS600B that I mentioned earlier was far too powerful for my filming needs, so I was much happier to test and review the smaller 60W PL60C, as this type of LED better suits my requirements as a videomaker and portrait photographer. Plus, at well under $200, the PL60C is much more within my price range!

And as the AS600B was only a bi-colour light, it could only be adjusted in the Kelvin scale (from warm to cool light). The cheaper and lighter PL60C is both a bi-colour and an RGB LED, so it can produce a far wider range of colours for more creative-looking results (as well as the usual bi-colour scale in degrees Kelvin). To be honest, I’d never consider buying an LED that didn’t have an RGB adjustable output!

I started my test by controlling the output of the tripod-mounted PL60C using the buttons and knobs on its rear control panel. Since I didn’t have a model on this shoot (they cost almost as much as I get paid for a review!), I popped a flower in a vase in front of the cameras so I could demonstrate how the output of the PL60C affected a subject.

The PL60C’s rear-panel two-knob system was easy to use. The left knob changed the intensity of the selected mode (such as CCT - colour temperature). I could see the intensity value in the nicely designed full-colour TFT display. The right knob enabled me to adjust colour temperature through an impressive range, from a warm 2500K to a much cooler 10000K.

By pressing the right knob to treat it like a button, you can jump to other properties in a mode, such as accessing a green and magenta tint counteracting slider in the CCT mode. In the HSI (Hue, Saturation, and Intensity) mode, you can use the knob/button system to choose a wide range of colours from a colour wheel and change their Intensity (brightness), Hue, and Saturation.

Now, while the combination of the PL60C’s TFT display and the button/knob control mechanism works well, you do have to rotate the buttons a lot to dial in your desired attribute (especially when choosing a colour from a 360º control wheel). So I found it relatively time-consuming to set up a specific lighting scenario compared to doing the same thing via the Neewer app.

By using the Neewer app to remote control the PL60C, I was able to replace the potted plant model with me! I could then adjust a host of properties from in front of the light (and the camera) in a much faster time. Thanks to the app, I could instantly choose a specific colour from the GELS mode by tapping on it (rather than twiddling a knob to dial it in). The app also gave me more control over the FX mode’s 18 animated lighting effects.

For example, I could customise the flashing cop car effect to match the lighting pattern of various countries’ police cars (such as blue, red and blue or red, white and blue). A very useful FX setting is HUE Loop. This causes the light to cycle through a range of colour hues, which I find very useful when adding variety and atmosphere to a model shoot. Check out this review supporting video to see the Neewer app (and the light’s rear panel control knobs) in action. The app also enables you to toggle the lamp’s fan between Auto, Mid, and Mute modes, though I couldn’t hear the fan noise even when filming close-up on the sea of the unit.

As you’ll see, I enjoyed using the app, and having each mode’s properties available to adjust with a tap or a swipe made it far easier and more convenient for me to control the impressive output of the Neewer PL60C than by using the LED’s physical knobs and buttons.

Verdict

The Neewer PL60C offers a balance between affordability, portability, and power. At 60W, I found it more than powerful enough to light a typical studio subject, but it was also light enough for me to carry to the location over a distance. Indeed, I didn’t need to push the Intensity much above 50% to illuminate my subject in the studio around 10 feet away, so there’s plenty of power available to illuminate more distant subjects in larger locations.

The PL60C’s rear-panel physical control knobs work well (though they do take a lot of rotating to dial in specific colours or intensities), but the free Neewer app gives you more control from in front of the light and camera, making this a very useful accessory for solo shooters.

Personally I prefer using LEDs with a built-in battery for on location portrait shoots and street photography (such as the Harlowe Avant Mini Max, but if you do work indoors or in a studio then the Neewer PL60C will add effective drama, atmosphere and key (or fill) lighting to your clips and stills (plus the PL60C is hundreds of pound cheaper than the Avant Mini Max). Don’t forget to check out the supporting video in the Performance section to see me put the Neewer PL60C through its impressive paces.

Alternatives

Nanlite has just announced two new compact round panel LEDs, the Miro 30c and Miro 60c, offering a small footprint, bright output, and natural round catchlights, all powered by Nanlite’s Nebula C4 light engine. For anyone working in streaming, podcasting, or content creation, that combination is a winner.

Both lights are more powerful than they appear. The Miro 30c consumes just 30 W, and the 60c doubles that at 60 W, but at one meter, they produce 4,854 lux and 8,382 lux respectively at 5600K. This is more than enough to serve as a key light for creating content at your desk or workstation.

Each light includes a magnetic diffuser you can swap in and out depending on whether you want soft fill or crisp punch, and both are certified RG0 for safe, comfortable long-term use.

Above: The video trailer for the Nanlite Miro Series

Colour control is where these new panels stand out. Nanlite’s Nebula C4 system combines RGB and white LEDs, providing a full CCT range from 2700–7500K, plus green/magenta adjustment for easy matching with other fixtures. Switch into HSI mode and you get access to 36,000 colour options, while the 14 built-in effects cover things like hue loops and fire simulations. That’s a lot of flexibility for fixtures starting at this price.

The practical setup looks straightforward. There’s a circular 1.28-inch display that clearly shows settings, and the stepped yoke rotates 360° with 20 preset tilt positions, making it easy to dial in a desk setup without awkward clamps. Mounting options include a 1/4"-20 thread and a supplied 5/8" adapter, allowing it to work with tripods or light stands.

Power is via USB-C PD or Sony NP-F batteries, which is great for creators moving between desk, studio, or location. The Miro 30c runs for about an hour on a single NP-F750 or up to 1.5 hours on an NP-F970, while the bigger 60c manages nearly 100 minutes on dual NP-F970s. There’s also an optional holder for a power bank if you want to extend runtimes.

In addition to the physical interface, the lights can be controlled wirelessly through Nanlite’s Nanlink App 2.0 over Bluetooth, supporting both individual and group control. Effects, scene recalls, and firmware updates can all be handled directly in the app.

Cooling is vital and is handled by a low-noise fan, rated at just 20 dBA, which should be quiet enough for podcast or streaming setups. Both models come in either mint blue or midnight blue and include a carry bag in the box.

The Miro 30c is priced at $119 / £99 and the Miro 60c at $159 / £133, with shipping expected to begin in October 2025.

That positions them close to recent releases from Amaran and other compact LEDs, but with a round design that looks especially appealing for anyone spending hours on camera.

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Sometimes, lighting a scene requires more than a boring steady white light – and a new pocketable light from Nanlite gives creators the ability to mimic the light from fires, lighting, or a dozen more scenarios all inside a pocketable LED. The Nanlite Pico LED Mini Pocket Light is a compact, color-adjustable light for creators.

Announced earlier this week alongside the new Lumo smartphone ring light, the Nanlite Pico LED Mini Pocket Light includes 14 preset lighting effects, a list that includes the red and blue flashes from emergency lights, the orange of a fire, the flicker of an old light bulb, or even the flash from paparazzi.

Of course, the Pico has traditional steady illumination too. The constant LEDBW light gives creators the ability to adjust the hue and saturation that the light gives off. At the brightest setting, the 4W light is ranked for 4211 at .3 meters or one foot away.

The light’s settings are adjusted using a small 1.28-inch screen on the back of the light, along with a dial and two buttons. Or, the light can also be controlled remotely with the Nanlite app.

The light sits on a tilting base to help creators get the right angle. That base is also magnetic to mount the light in a variety of different locations. A cold shoe adapter will also house the light on top of a camera. A magnetic diffuser is also included with the light.

Despite the light’s versatility, Nanlite describes the Pico as pocketable. The Pico weighs 130g.

The light’s battery is rated for up to 6.5 hours, and the battery recharges via USB-C.

The Nanlite Lumo is a folding smartphone ring light

Nanlite also announced the Lumo earlier this week, a folding MagSafe ring light that magnetically attaches to smartphones. The light also includes a magnetic adapter for smartphones without built-in magnetic charging.

Besides delivering the flattering ring of light situated around the smartphone’s camera array, the folding design of the Lumo allows the light to double as a phone stand. The single button design allows users to choose from three brightness levels with a short press and use a long press to change the light’s color temperature.

Like the Pico, the Lumo recharges with USB-C. The battery life is rated for up to five hours and 30 minutes.

The Nanlite Pico retails for $59 / £35 / AU$68 and is already available at multiple retailers – it’s currently discounted to about $35 in the US at Adorama.

The Nanlite Lumo is expected out in August for about $40.That converts to about £30 / AU$61.

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Many of us record video content from home, rather than in a dedicated studio. Available light from a window in your home office might add a key light to one side of your face, but the other side could lack detail due to harsh shadows. If the window is behind you, then your face could be in silhouette. Daylight also fluctuates in intensity and colour due to the time of day and the weather, causing your YouTube presentations to look inconsistent if you record them throughout the day. Artificial light from an overhead bulb can add unflattering shadows to your face and emphasise ‘baggy’ eyes. You need a third-party light source to help you look better on camera!

In a ‘real’ studio, you might mount a soft box onto a COB (Chip On Board) LED to create a diffuse spread of light that fills in shadows and creates a more flattering look. However, soft box attachments can be rather large, and in a home studio, you may not have the space to fit them in. I’ve tested and reviewed many studio COB LEDs, such as the Neewer AS600B 600W Bi-colour LED video light, and they are just too large and powerful for home use (and expensive too!)

The Amaran Verge and the Amaran Verge Max LEDs offer an effective way to get a consistent, flattering light source into a small home office. They are both flat panel lights, so they are far less deep and intrusive than a studio light with a bulky soft box attached. The Verge and Verge Max offer a diffuse ‘soft box’ look that will flatter your face and make product photos stand out from the crowd on eBay.

Amaran produces a wide range of lights, from powerful (and expensive) studio COB lights to more portable battery-powered tube lights that are suitable for lighting portraits and video on location. The Verge and Verge Max are part of their flat panel light collection, and they are more suitable for lighting in your home studio.

Amaran Verge & Verge Max: Specifications

Amaran Verge & Verge Max: Price

The Amaran Verge and the Verge Max vary in price due to their specifications. The Verge is a smaller flat-panel LED that adds a soft, bright wash of light to your face for the relatively inexpensive price of $79 / £92. The larger and more powerful Amaran Verge Max costs $259 / £259.

The Verge Max is expensive compared to the Verge, but compared to a COB light with a soft box mounted to it, the Verge Max is much more affordable, and it is far less intrusive due to its flat-panel design. The Verge Max also offers a much brighter and larger spread of soft, diffuse light, beaming out a blinding 6455 lumens compared to the cheaper Verge’s 2347 lumens.

Personally, I think that the Verge Max is too powerful for my small home office shoot requirements, and I rarely pushed it beyond 50% of its brightness intensity as it caused hot spots to appear on my face in the footage. The smaller, cheaper Verge was more than powerful enough to add a strong, wide, and flatteringly diffuse key light to my face, so that should be a more attractive and affordable purchase for lighting a home office shoot.

Amaran Verge & Verge Max: Design & Handling

Since I’m covering two lights in this review, I’ll start with a look a the smaller and cheaper Amaran Verge and then move onto the Verge Max. The Amaran Verge is a rectangular flat-panel LED light that’s reminiscent of a large iPad due to its black plastic frame and curved corners. Being of a certain age, it also reminded me of an old ‘Etch-a-Sketch’ device I had back in the 1970s, especially thanks to the two control knobs jutting out at the lower front of the device!

Instead of a screen, it has a white edge-lit LED panel that illuminates a wash of soft diffuse light when you press a power button on the lower rim of the frame. The two control knobs adjust colour temperature in degrees Kelvin (K) and Intensity (brightness) respectively. For a relatively small plastic panel, it is surprisingly heavy, weighing in at just over 2lbs. This gives it a sense of quality build.

The rear of the Amaran Verge has a ribbed plastic texture at the base, which makes the plastic panel LED easier (and therefore safer) to grip. Also on the rear is a rubber cover. When you peel that cover off, it reveals a V-shaped mount that’s designed to slide onto Amazon Light stands and stay secure thanks to the unique Amaran Verge Lock system. My Amaran Verge test unit didn’t ship with an Amaran Desk Stand, but fortunately, it also has a 1/4” thread socket in the middle of the base of its frame, so I was able to attach it to a very affordable Bilione Mic stand that I had lying about. The third-party Bilione mic stand had a ball head, so I was able to pan and tilt the Verge to direct its illumination. You can purchase the Amaran Verge bundled with an Amaran Desk Stand for an extra $30 or so.

Let’s move on to look at the design and handling of the Amaran Verge Max. Well, for starters, it’s much bigger than the Verge in relation to width, measuring 22”. When the courier lugged a huge box out of his van, I was surprised at the size, especially since I’d taken delivery of the much smaller Amaran Verge a few days earlier. Despite having a much larger surface area for the LED panel, the 1.4” Verge Max is not much thicker than the 1.1” deep Verge!

The Verge Max is also much heavier than the standard Verge, weighing in at 3.66kg / 8.07lbs compared to the Verge’s lighter 940g / 2.1lbs. Fortunately, my Verge Max also shipped with a sturdy metal Amaran Verge Desk Clamp Stand (which will set you back by $65 if you purchase it separately). This desk clamp is essential as it is designed to take the weight of the Verge Max. I liked the silver finish of the metal desk clamp as it complemented the white plastic Amaran Verge Max. The stand and lamp look like something you might find in a hospital environment, with their clean silver and white lines and textures. There’s also a charcoal version of the Amaran Verge Max if you like a darker look.

Amaran Verge & Verge Max: Performance

I’m not a fan of assembling flat-pack furniture, but the Amaran Verge’s Desktop Stand was easy to put together. It comes with two poles that need to be attached together via a thread. Initially, the top pole wouldn’t screw into the thread attached to the bottom pole. After a bit of fiddling, I was able to detach the thread adapter from the lower pole, rotate it 180º, and then attach the two poles together as required. I was then able to attach the horizontal arm to the top of the stand and mount the large circular Amaran Verge Max to the stand’s arm. The stand was then secured to my desk by rotating the clamp at the bottom threaded screw.

The horizontal arm at the top of the stand has an Amaran Lock mount that ensures that the lamp will always stay attached. This involves a V-shape slot so the lamp can’t slide out of the clamp. There’s also a little spring-locking pin to stop the lamp sliding out of the locking mechanism. The horizontal arm can be rotated to point the Verge Max in any direction, and a hinge at the end of the arm enables you to tilt it up and down for extra directional control. The locking handle that makes the lamp stay in position once tilted needed a fair bit of tightening, but the heavy lamp stayed in place once tilted. Despite the weight and 22” width of the circular Amaran Verge Max, I felt completely safe and confident when pushing and tilting it into new positions, thanks to the well-designed and sturdy metal desk stand.

As a product reviewer, I often need to illuminate gadgets on my desktop for product photos. I usually dig out a tube light such as the Viltrox K90, but sometimes these battery-powered LEDs aren’t fully charged and cut out during my shoot. The Amaran Verge and Verge Max are powered solely by USB-C, so they’re not something you’d take on a location shoot. However, by plugging them into your home’s power socket, you can be sure that they will be on hand to illuminate a shoot at the press of a button, without worrying about charging them. Both LEDs ship with a relatively long power cable, and the Verge Max’s stand has two plastic cable grips to stop the cable from dangling. However, these plastic grips are only attached to the stand’s horizontal metal arm via an adhesive, so they are prone to falling off, which leads to a partially dangling cable. This is a small niggle, and it doesn’t affect the Verge Max’s performance, but I like to be thorough.

Both the Amaran Verge and the Verge Max are controlled via two knobs and a single on/off button. The left knob adjusts the colour temperature between a warm 2700K to a cooler 6500K, so you can make the LEDs match existing light sources or complement a cold light source with a warm one. The right knob adjusts the light intensity. The smaller Amaran Verge doesn’t have a display, so you can’t see precisely which brightness or colour temperature setting you’ve chosen. However, the bigger Verge Max’s little display does give you that information.

What’s really worth doing is downloading the free Amaran Desktop App. This enables you to control both LEDs via your smartphone, and you can dial in specific colour temperatures on both lights with a tap. Check out my supporting video to see the App in action. The app also unlocks a special animated lighting effects mode that you can’t control via the lamps’ buttons. This causes the Verge LEDs to flash like lightning or flicker to mimic a fire, for example. I’m not sure how useful special lighting effects are in a home studio set up, but it’s nice to have the option to trigger them via the app.

The Amaran Verge and Verge Max are fanless, so they will never produce any distracting fan noise to spoil your presentations. Both LEDs are easy on the eyes in that they are RGO-certified. They eliminate UV, reduce blue light, and deliver flicker-free light that’s soft on the eyes. In my test video, I used the Amaran Verge Max as a large soft key light - basically, it mimicked a window. The smaller Amaran Verge then acted as a fill light on the other side of my face. Being Bi-colour LEDs, I can use them to complement existing daylight from my office window, or mimic daylight in the evening by dialling them to 5600K.

Amaran Verge & Verge Max: Verdict

The Amaran Verge and Verge Max are well-built and nicely designed Bi-colour LEDs. Being flat-panel lights (just over an inch deep), they don’t take up a lot of space in a small home office, but they do more than enough light for a range of scenarios— from YouTube presentations to product photography! Indeed, I couldn’t take the Verge Max much above 50% intensity without blowing out highlights in the shot! The smaller Verge still kicks out more than enough light but doesn’t have the wider spread of the Verge Max.

The Verge Max has a tall stand, so it floats above your desktop and doesn’t get in your way, but it’s still close enough to hand so that you can pan and tilt it to fine-tune your lighting set-up without getting out of your office chair.

Being bi-colour lights, they can emit a wide range of colour temperatures on the Kelvin scale, but they lack an RGB LED’s ability to add more creative colours to your footage.

Alternatives

SmallRig just released its new RM 25C Pocket-Sized RGB LED Video Light. And after going through the specs, I didn’t hesitate – I’ve already ordered two.

It’s a practical, no-nonsense LED light that fits well in a photographer or filmmaker’s kit. The RM 25C is compact; it measures 113 x 74 x 29mm and weighs just 225 grams, making it easy to carry without sacrificing performance or vital kit bag space.

Despite its small size, it delivers 25W of output, and is about 30% smaller and roughly 70% brighter than earlier models. That balance works well for fast-paced shoots where space is limited but reliable lighting is still a must.

What makes this light stand out is the level of control it offers for its size and price point. It provides full RGB color capability with over 36,000 color options and an adjustable color temperature range from 2,500K to 10,000K.

For anyone who cares about color accuracy, the RM 25C scores high with a CRI of 96 and a TLCI of 99, ensuring skin tones and product colors look natural and consistent. It also comes with fourteen built-in lighting effects, which add creative options when needed, but the core strength is solid, dependable light.

ABOVE: See the SmallRig RM 25C mini LED Video Light in action

Battery life is solid enough for most shoots, up to 50 minutes at continuous full brightness, and thanks to PD 3.0 fast charging, it can get back to 80% in about 45 minutes. You can also power it while charging, which adds flexibility on longer shoots or when working from fixed locations.

Controls are straightforward, with a side-mounted HD screen for clear visibility and a dial that makes adjusting settings quick and intuitive. The RM 25C offers versatile mounting options to suit different shooting scenarios. It features a magnetic back that securely attaches to any metal surface, allowing for quick and flexible positioning without the need for extra accessories.

For setups requiring more traditional mounting, there’s also a standard 1/4-inch screw hole, which makes it compatible with tripods, light stands, or rig arms. This combination of magnetic and screw mount options provides reliable flexibility whether you’re working handheld, on location, or in a controlled home studio environment.

For anyone shooting on the go, whether it’s photography, video, or content creation, this light seems like a reliable, easy-to-use tool that can slip easily into your kit bag. It’s compact, bright, and flexible enough to handle a variety of shooting conditions.

I can see myself using it as an accent light or rim light during shoots, in addition to run-and-gun documentaries or studio podcasts, which is why I’ve ordered two already!

The SmallRig RM 25C mini LED Video Light is available now for $59.00 / £55.90 / AU $95.90.

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I always look forward to testing a new light from Harlowe (formerly Hobolite) because each LED in the Harlowe range looks stylish, is sturdily constructed, and delivers excellent performance, achieving a perfect combination of form and function. It’s not surprising that Harlowe lists multiple design awards on their site.

Harlowe lights vary in cost, style, and size, from the portable palm-sized 5W Iris to the mighty studio-friendly 100W Avant. They also sell a couple of light wands - Harlowe Blades. Regardless of their size, shape, and price, every Harlowe light shares distinctive properties such as silver metal bodies adorned with faux brown leather panelling that is reminiscent of a 1960s-era camera. Many of them evoke the design of a vintage Hasselblad camera, in my opinion - take a look at the Harlowe Avant Max for an example.

The Sol 5 Spectra is an updated version of the older Sol 5, a MagSafe light that will stick to a MagSafe-compatible smartphone and illuminate your selfies or rear-facing camera subjects. The old Sol 5 is a bi-colour light, so you can adjust the colour temperature to complement different available light sources. As its name suggests, the new Sol 5 Spectra is an RGBCW light, so it offers a spectrum of 36,000 colours (as well as the standard bi-colour range in degrees Kelvin).

The Sol 5 Spectra Creator Kit also ships with a collection of accessories to modify its output still further, so if you’re a mobile content creator, this will be an essential addition to your content-creating toolset.

Harlowe Sol 5 Spectra: Specifications

Harlowe Sol 5 Spectra: Price

Due to its innovative design and sturdy construction, any Harlowe LED could be considered a luxury item, and the price for the Sol 5 Spectra reflects that status. At $179, the Standard Kit Sol 5 Spectra costs $100 more than the older Sol 5, but you do get the ability to emit 36,000 colours when using the higher-spec Spectra.

To get the most from the Sol 5 Spectra, you really need to invest in the more expensive Creator Kit, which includes important accessories such as a branded mini-tripod. The tripod enables you to light your subject from an angle rather than capturing the flat-lit look you’d get when sticking the Sol 5 Spectra to your smartphone via its MagSafe connector. The Sol 5 Spectra’s Creator Kit also boasts modifiers such as magnetically attachable Magic Lenses that add textures to the light emitted by the LED.

Harlowe Sol 5 Spectra: Design & Handling

I’ve already extolled the award-winning, innovative design of the Harlowe range, and the Sol 5 Spectra slots into that line-up with its design credentials present and correct. As well as being constructed from the same silver material as its peers, the Sol 5 Spectra is the size and shape of a small camera lens, but Harlowe has still managed to squeeze a small patch of brown faux leather panelling onto its rear to ensure continuity of branding. The faux leather is also visible on the legs of the mini tripod that ships with the Creator Kit.

Despite fitting into the palm of your hand, the Sol 5 Spectra feels surprisingly heavy, which indicates a quality build. The similarly sized and specced JOBY Beamo Reel Colour LED feels like a child’s plastic toy in comparison to the Harlowe Sol 5 Spectra’s more solid construction.

One of the Sol 5 Spectra’s key design features is its MagSafe-compatible magnetic mount. It’ll clamp securely to the rear of your MagSafe-compatible smartphone. You can then rotate the light on a hinge so that it’s pointing at your face to illuminate a selfie via your smartphone’s front-facing camera. To shine a light on subjects being filmed by your smartphone’s rear-facing cameras, simply swivel the light through 180º via its other hinge. The Sol 5 Spectra also clips magnetically to the Creator Kit’s supplied mini tripod, which, like the LED, is heavier than it looks and solidly built despite being small.

The Creator Kit comes in a black card box with inlays to store the dome-shaped Magic Lenses. The box isn’t particularly robust, but it contains a black faux leather carry case (again branded with the brown leather patches and a matching strap). The strap is very thin, and the gold clasps that attach it to the case evoke the look of a lady’s handbag. The case is quite small too, so you can carry the Sol 5 Spectra and the tripod in it, but the two Magic Lenses and their Magnetic Mount will have to travel separately, which isn’t ideal. The case does have a side pocket to contain the 5 Magic Plates that ship with the Creator Kit, though you need the Magic Lens Magnetic Mount to use these modifiers, and that won’t fit in the case. ‘We’re going to need a bigger bag!’

Harlowe Sol 5 Spectra: Performance

To test the Harlowe Sol 5 Spectra Creator Kit, I rendezvoused with my regular model, Maddy (Insta: @runwayvoguish), at the Barbican Centre. Maddy was instantly impressed with the handbag-style carry case that contained most of the Creator Kit, and she enjoyed carrying it over her shoulder en route to the darker corridors of the location’s Brutalist architecture, as you’ll see in our supporting video.

I lent Maddy my iPhone 16 Plus, and she clamped the Sol 5 Spectra to the back of the iPhone and swivelled it round to light her face while composing some selfies via the front-facing camera. As a 5W LED, the Sol 5 Spectra only produces 220 lm (but that’s the equivalent of the light produced by 220 candles, which was more than enough to illuminate a selfie in such a gloomy location). When the LED was set to bi-colour mode, Maddy was able to swipe the circular touch-sensitive panel on the rear of the unit to dial in a warmer colour temperature of 2700K, which complemented her skin tone and bright red jacket.

By pressing the top intensity dial (which also doubles up as a button), Maddy switched to RGB mode and could then stroke the back of the LED to scroll through a rainbow range of creative colours. These added atmosphere and drama to her selfies as she walked through the location’s sci-fi style corridors. I was impressed that Maddy was able to interact with the touch-sensitive panel despite the fashionable length of her nails!

I then asked Maddy to shoot some selfies with the superior back-facing cameras on the iPhone 16 Plus. She was easily able to swivel the magnetically attached LED’s head through 180º, but she could no longer refer to the iPhone’s display to compose her selfie. Fortunately, the Sol 5 Spectra’s magnetic mount has a built-in mirror (like a make-up compact case), so Maddy could still check that she was in shot.

The next stage of our test involved a more conventional model shoot. I magnetically clamped the Sol 5 Spectra onto its tabletop tripod. When the tripod is at its shortest length, the 0.34lbs LED is a little top-heavy, so I was worried that the tripod-mounted Spectra could topple over. However, by extending its legs to a height of 10.5”, the light was very stable on the tripod. I was then able to pop the tripod-mounted Spectra on a concrete rail and illuminate Maddy from an angle to create a mix of ‘modelling’ light and shade that emphasised the contours of her face.

On a previous shoot in the Barbican, I was using two long and bright tripod-mounted Viltrox K90 tube lights. These conspicuous LEDs soon drew the attention of a security person who asked us to move on. Sometimes tripods act as 'red rags to a bull’ to security personnel when I’m shooting on location, but the diminutive size of the Sol 5 Spectra and its tabletop tripod meant that my test shoot was uninterrupted. If you need to ‘run and gun’ in low-light locations, then the Harlowe Sol 5 Spectra will suit your needs.

Finally, I popped the Magic Mount adaptor onto the Sol 5 Spectra and magnetically clamped one of the Magic Lenses onto it. I’ve encountered Harlowe’s Magic Lenses before when testing the Harlowe Iris. The Magic Lens is a multi-faceted dome that breaks up the light into patterned textures. These can be further modified when using the Harlowe Sol 5 Spectra by sliding in one of the five Magic plates. Magic Lens textures can give your portraits a more creative look. However, as the Sol 5 Spectra is only able to emit 220 lm (or 440 lm in a 30-second Boost Mode), the patterns that it produced on my test shoot were barely discernible in my test location. The much more powerful 5W Iris can kick out 2820 lm, hence it has more noticeable textured patterns.

Harlowe Sol 5 Spectra: Verdict

Like all Harlowe LEDs, the Sol 5 Spectra looks and feels like a quality product. You do pay more for premium products, but this price is reflected in the Spectra’s sturdy build, with its aircraft-grade silver aluminium body and the brown faux-leather adorning the rear of the light and its tripod legs. Many of the LEDs that I’ve tested are constructed of plastic - such as the boxy plastic lights in the SmallRig RM01 kit, and as a result feel cheap and are relatively fragile. With the Sol 5 Spectra you’re paying for an LED that is there to ‘show off’ to your model and to the audience of your YouTube channel. It’s designed to be seen and admired as well as providing illumination.

When it comes to illumination, this is a relatively low-powered LED so it’s most suited to lighting a subject in close proximity. You can boost it to 5.5W, but only in 30-second bursts, so that’s not particularly useful when shooting video. As it’s designed to clamp to your smartphone, the Spectra’s low wattage shouldn’t be a problem when you’re filming yourself at arm’s length. It also worked well in our low-light test location. In low light, footage from an iPhone can look very grainy and even pixelated, but as you’ll see in our test footage, the Sol 5 Spectra helped us capture high-quality video.

Alternatives

Profoto, best known for its industry-renowned photography lighting kits, is making serious moves in the world of cinema lighting. After introducing the L1600D earlier this year, the Swedish company has just unveiled three new constant lighting systems: the LP2000C, L600C, and L600D.

All three lights will be officially premiered at the Cine Gear Expo in Los Angeles on June 6–7, held at Universal Studios. The launch event marks Profoto’s most significant push yet into cinema lighting, and it’s a clear signal that they’re taking this market seriously.

Each brings Profoto’s signature blend of technical quality and practical design to film and video production. The company’s message with these lights is a clear statement of intent; these lights are "faster, lighter, and brighter", and they’re built to meet the needs of professionals across both photography and cinema.

Above: A video showcasing the Profoto LP2000C

The LP2000C leads the lineup as a powerful new soft panel that Profoto claims is the world’s brightest full-color LED panel. Delivering an impressive 2000 watts of rich, full-spectrum light, it’s engineered to provide unmatched quality while staying nimble enough for demanding film sets.

Weighing just 27kg, about 50% less than its closest competitors, the LP2000C combines brute strength with practical portability. Profoto’s patent-pending CTech cooling system not only keeps the unit cool but also contributes to its dramatically reduced weight.

The light features a wide CCT range from 2000K to 15,000K and a TLCI of 97, ensuring true-to-life colors and soft, flattering illumination. Its 360° aluminum rail system enables flexible mounting in any orientation and a new SnapBag pairs with Profoto’s Speed Clamp for lightning-fast setups.

Designed to withstand real-world production demands, it’s IP65-rated for weather resistance, making it just as effective on location as in the studio. The LP2000C is now available for pre-order at $12,995, with shipping expected in Q3 of this year.

Above: A video showcasing the Profoto L600C and L600D

Next in the lineup is the L600C, a full-color 600W point-source LED that focuses on power, color precision, and portability. With no ballast and a streamlined, self-contained design, the L600C is all about speed on set.

It features Profoto’s new HydroCTech cooling system, which enables the light to stay silent and cool without compromising performance. This also helps keep the total weight down to just 6.1kg.

Under the hood is Profoto’s Core LED engine, using the world’s first RGBWWW chipset, which enables the light to deliver a TLCI of 99 and extremely high SSI values, up to 90 at 3200K and 84 at 5500K. The wide color temperature range, combined with support for over 300 digital gels and compatibility with more than 55 Profoto light modifiers, offers filmmakers and DPs incredible creative control.

Wireless connectivity is built-in via DMX, CRMX, and Profoto’s own Air system, with intuitive onboard controls and app support rounding out the package. The L600C is available now for pre-order at $3,995, with shipping beginning in Q3.

Completing the trio of new lights is the L600D, a daylight-balanced 600W point-source LED aimed at users who require compact, high-output lighting with color accuracy and simplicity.

Sharing the same HydroCTech cooling system as the L600C, the L600D weighs slightly less at 5.9kg. It offers daylight-balanced output with a TLCI of 99 and an SSI of 86, making it ideal for scenarios where natural-looking skin tones and accurate daylight replication are essential.

Like its full-color sibling, it features precise 16-bit dimming from 0.1% to 100%, with no flicker at any frame rate. All controls, power, and connectivity are integrated into one compact unit, enabling quick deployment on set.

The L600D is also compatible with Profoto’s broad range of modifiers, maintaining the modularity that many photographers and filmmakers have come to expect from the brand. It’s now available for pre-order at $2,995, with delivery expected in Q3.

While Profoto’s reputation has long been cemented in the world of photography, this latest expansion into cinema suggests a broader vision that caters to creators who don’t want to compromise between still and motion workflows.

The LP2000C, L600C, and L600D aren’t just repurposed lights for video, they’re built from the ground up for film sets, with features and performance tailored specifically to production realities.

If Profoto’s track record in photography lighting is anything to go by, these cinema fixtures are likely to become fast favorites among professionals who demand quality, reliability, and ease of use.

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Amaran, a brand known for its creator-friendly lighting tools, is entering new territory with the launch of the Verge and Verge Max – two edge-lit LED panel lights designed specifically for desktop setups.

Compact, bicolor and cleverly designed for small studios and permanent workspaces, these new additions offer an intriguing mix of softbox-level diffusion, intuitive control and eye-safe illumination – all without the bulk of typical lighting kits.

With creators increasingly working from desks, streaming from bedrooms, and filming in compact home studios, the Verge series arrives as a timely solution for content creators.

The Verge is a rectangular edge-lit LED panel ideal for live streamers, vloggers, gamers and remote workers. It’s fitted with front-facing knobs that offer a small but significant design tweak that makes brightness and CCT adjustments simple.

There's also full wireless control via the Amaran App or a Stream Deck plugin for seamless real-time tuning.

ABOVE: An introduction video to the Amaran Verge series

The Verge Max takes the same DNA and scales it into a 22-inch circular form, with all the refinement of a softbox without the size or setup time. It’s a space-saver, at just 1.4 inches thick, yet still delivers flattering, wraparound light perfect for talking heads, product showcases or work calls.

Both Verge models are RG0-certified, meaning they’re engineered with eye safety in mind; eliminating UV, minimizing blue light exposure and operating flicker-free. In practical terms, they produce soft, low-glare lighting that looks great and feels easy on the eyes – ideal for the modern age of lengthy streams or work calls.

ABOVE: The Amaran Verge Max mounted onto a desk clamp

Mounting is flexible, too. The proprietary Amaran Verge Lock system enables precise positioning via desk clamps or standard baby pin stands, while optional accessories like a desk stand or light control grid enable you to shape your setup to suit your style.

The Amaran Verge and Amaran Verge Max are now available to purchase at $79 / £87 and $259 / £252 respectively, shipping in early June (Australian pricing to be confirmed). Optional extra accessories such as a desk stand, desk clamp, stand adapter and light control grid are also available.

Whether you're upgrading a streaming rig or fine-tuning your home office lighting, the Verge series is a compelling lighting solution. It’s smart, unobtrusive, and thoughtfully made for creators.

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SmallRig has launched the RC 220C RGB COB LED Video Light – and it’s shaping up to be a serious lighting solution for filmmakers and photographers who need power, control and versatility without dragging around a bulky rig.

This light is compact enough to fit into a backpack, at about 6.5 inches long, but delivers professional-grade results that rival far bigger and pricier lighting kits.

Whether you're shooting a talking head interview, lighting a product shoot or adding atmosphere to a music video, the RC 220C will provide precise control over color and intensity – something that really opens up your creative options.

ABOVE: The SmallRig RC 220C RGB COB LED Video Light in action

Unlike a lot of compact lights, this one isn’t just daylight or bi-color, it’s full RGB – which means you can dial in everything from clean white light (with a temperature of 2500K to 10000K) to rich, cinematic hues with smooth color transitions.

That’s a huge win when you're matching ambient light, creating stylized scenes or just want to add some visual interest without breaking out gels or filters.

What stands out to me is how practical it is. It runs on AC power but also takes V-mount and NP-F batteries, so you’re never stuck near a wall socket. That makes it perfect for location shoots, tight spaces or lean documentary crews. Control is flexible, too; manual dials, app connectivity or DMX if you're running a full setup.

Despite its size, the RC 220C has a metal construction built for high load-bearing – so it pairs comfortably with modifiers such as softboxes or umbrellas using its Bowens mount and umbrella hole. It’s quiet at just 28dB and the all-metal supports give it a rugged feel that’s built to last.

At $409.00 / £385.90 / AU $664.90 the SmallRig RC 220C offers serious value, especially compared to other lights in its class. It’s available now in most regions, with US shipping starting June 16.

If you're looking for a do-it-all light that’s color-accurate, portable, and powerful enough to be your main source, the SmallRig RC 220C is certainly worth a closer look.

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The DJI Osmo Pocket 3 has quickly become a favorite among content creators, vloggers, and travel filmmakers due to its compact design and gimbal-stabilized 4K video capabilities. While accessories are becoming more common, one limitation has been a lack of lighting solutions – until now.

Frezzi Energy Systems has introduced the PocketLight Kit, perhaps one of the first dedicated LED lights designed specifically for the DJI Osmo Pocket 3. Frezzi, known for its video lighting solutions used by television and network news stations, developed the PocketLight Kit to offer a professional lighting option.

This compact yet powerful bi-color LED light provides adjustable color temperatures ranging from 3200K to 5500K, ensuring optimal lighting conditions in various settings. A standout feature of the kit is its patent-pending Magnetic Mount System, which enables quick, secure attachment on the side of the camera. The tool-free design makes setup effortless, and the light can be repositioned easily for front-facing or selfie-mode shooting, making it ideal for vloggers on the move.

Lighting plays a crucial role in achieving high-quality video, and the Frezzi PocketLight addresses a key gap in the Osmo Pocket 3 ecosystem. By eliminating harsh shadows and improving visibility in low-light conditions, it enhances image quality.

The kit includes the Frezzi PocketLight, a Magnetic Mount System for quick attachment and removal, an extension arm that is reversible for right or left-handed use, and a tripod-mountable protective cage for the Osmo Pocket 3. While the extension arm and cage provide added protection, looking at the images, they may somewhat limit the camera’s signature mobility, one of its main selling points. However, for those prioritizing lighting quality over ultra-portability, this kit may be the answer.

As the Osmo Pocket 3 continues to grow in popularity, more third-party accessories are emerging to enhance its capabilities. With brands like SmallRig introducing cages and shock absorber mounts, the camera is becoming a fully customizable tool for creators.

The Frezzi Pocket-Sized Bi-Color LED Light Panel Kit for DJI Osmo Pocket 3 is available now from stockists such as B&H Photo for $289 (approximately £225 / AU$450).

The PocketLight Kit adds another essential accessory, ensuring users can capture well-lit, professional-quality footage in any environment. For vloggers, travel filmmakers, and professionals looking for a portable, high-quality lighting solution, the Frezzi PocketLight Kit is a compelling addition to their gear lineup.

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Viltrox is a brand we've come to know for its well-priced yet high-performing lenses, but it also produces a wide range of photographic lighting products. The latest of which is the newly-launched K90 30W RGB Fill Light, which joins Viltrox's shorter K21 an K60 models.

This 97cm-long light stick is ideal for background, fill, and accent lighting, whether that be for stills or video. The light contains 448 high-quality LEDs, comprised equally of RGB, warm white, and cool white diodes. This not only gives 2300 lumens of luminous flux and 2550 lux illuminance at full power; it also enables a full RGB color range, 2500K–8500K color temperature range, plus over 26 customizable lighting effects for extra versatility.

Color accuracy should also be respectable, with the K90 boasting a color rendering index (CRI) of 95 and a Television Lighting Consistency Index (TLCI) of 97. The light output is designed to be soft, meaning additional diffusion from a softbox isn't essential. Power comes from a built-in researchable battery capable of providing around 70 minutes of run time, charged via a USB-C connection that supports various quick charge standards. The light can also be used while it's charging.

The K90 can be remotely controlled via Bluetooth using the Viltrox Link app, allowing easy adjustment of light settings and effects, as well as control of a single light or groups of multiple lights. There's even a pixel function which means a single light can act as a 'pixel' when used in a group, unlocking exciting creative possibilities. Functions can also be adjusted via physical buttons and an info display on the light itself.

The standard K90 package contains a pair of K90 light tubes, along with four magnetic clamps for secure attachment (a 1/4-inch threaded hole on both sides can also be used to attach the K90 to a stand/support). Each light weighs just 870g and is supplied with a shockproof hard-shell protective case for storage and protection.

The Viltrox K90 30W RGB Fill Light is available to buy now from Amazon, priced at $229.99

The Lume Cube RGB Tube Light Mini is a 1-ft-long LED tube light that will appeal to photographers and videographers looking for a creative lighting solution or portable studio light. Any of the best LED light sticks and light wands can prove an invaluable tool for portrait and product photographers looking to add a different dynamic to their LED lighting setup. The Lume Cube RGB Tube Light Mini's small form factor makes it an appealing choice for content creators on the go.

However, Lume Cube also caters to those requiring a larger light stick in the form of the Lume Cube RGB Tube Light XL. This model has very similar specs to its smaller sibling, while boasting a big 4-ft form factor. The questions are: is the 1-ft Lume Cube RGB Tube Light Mini the better choice for you? How does it fare against the best LED light panels? And does it deserve a glowing report? Let's find out…

Lume Cube RGB Tube Light Mini: Specifications

Lume Cube RGB Tube Light Mini: Price

The Lume Cube RGB Tube Light Mini is available from Lume Cube as a single unit for $149.99, a double pack for $299.99 or a four-pack at $599.99. US and UK users can find it on Amazon for $149.99 and £175.99 respectively.

Inside the box you'll find the Lume Cube RGB Tube Light Mini itself, a small stand, wrist strap, USB-C to USB-A power cable and a hard-shell case. The latter is a nice upgrade from the soft-goods pouch I've received in other Lume Cube products, while the small metal stand that attaches to the 1/4-in threads (at either end of the tube) is also of good quality.

Lume Cube RGB Tube Light Mini: Design & Handling

We've been impressed with the robustness of Lume Cube products and the Tube Light's aluminum build feels as sturdy as ever. The San Diego-based outfit calls the light "weatherproof" and "drop-resistant" – welcome touches when creative shoots can be a little hard on kit.

The light's end caps are well-designed. They're hexagonal to prevent rolling, while also allowing you to lay the light flat at a variety of angles. You can also twist the caps a full 360 degrees. This is because they each have an edge with a magnet – marked with a lightning bolt – so you can attach the light to metal surfaces.

The Tube Light Mini features the same buttons as the RGB Panel Pro 2.0, meaning we’re still pleased to find a dedicated on/off switch, but it does suffer from the same locking control dial. It can also be connected to the Lume Control app for seamless smartphone operation. Another similarity with the Pro 2.0 is the Tube Light Mini's ability to double as a power bank (outputting 14Wh), although it cannot match the Pro's battery life, presumably because its awkward dimensions require a smaller battery.

While it only features a tiny LCD screen, the Tube Light Mini is packed with largely the same internal architecture as the Panel Pro 2.0. The main light's color temp ranges from 2700-7500K, it has a 96+ CRI rating, can emit over 16 million colors and features seven lighting effect presets including simulating flickering candlelight, flames, and an emergency service siren. However, the light stick does contain fewer LEDs than the Panel Pro 2.0, but emits more lumens and increased lux.

Lume Cube RGB Tube Light Mini: Performance

If you've used another Lume Cube LED product before – like the RGB Panel Pro 2.0 – you'll know roughly what to expect from the RGB Tube Light Mini. The light wand's fewer LEDs and fixed diffuser appear to be offset by its increased lumens and lux, because I found very little difference between the strength and quality of light emitted. If I had to separate the two, the Panel Pro’s shape creates a slightly more even light – as to be expected – but the RGB Tube Light Mini still emits an impressive beam that's suitable for everything from portraits to product photography, video interviews to webcam lighting and more.

Despite my grievances with Lume Cube's locking control dial, my preferred method of controlling the RGB Tube Light Mini – and indeed any other Lume Cube light – is via the excellent Lume Control App. You can group the Mini with other Minis or other compatible Lume Cube lights. This means you can control an entire lighting setup from your smart device. Personally, I've found the app to connect quickly and easily, with lights reacting swiftly to my inputs.

The RGB Tube Light Mini stands out for its tubular form factor and in certain situations, it really comes into its own. It's a great tool for creative portrait or product shoots and I like the way it can be led down to light subjects from beneath or stood on one end to emit a thin beam of light. The hexagonal end caps are extremely useful in these situations because they essentially allow you to angle the beam in six different positions and you're never worried about it rolling around.

When I tested the magnets I found the light adhered to some metal surfaces better than others – likely due to the compound in question – but when it did adhere properly, it was suitably secure.

I used it during a toy photography shoot, making use of its millions of RGB colours to emit a fiery red beam. As you can see in the picture (below), space was at a premium. Only the RGB Tube Light Mini was small and thin enough to be placed within a gap in the castle to illuminate the background.

The light wand stands relatively sturdy of its own accord, but the supplied stand will provide you with peace of mind that it won't topple easily. It's sturdily built but doesn't do anything special. It simply unfolds into a single position and while this isn't great if you want to customize the Tube Light Mini's angle or height, in a world of twisty, locking legs, I find the simplicity of this accessory refreshingly utilitarian.

And of course, the 1/4-in threads allow you to attach your choice of stand anyway. It's just a shame there's no thread on the light wand's shaft, it seems an oversight not having the option to mount it horizontally.

Lume Cube RGB Tube Light Mini: Verdict

Lume Cube's portable LED light architecture is the big draw here, especially if you own other Lume Cube products. The RGB Tube Light Mini, then, is everything I've come to expect from a Lume Cube light. It emits a strong, even beam and is bursting with features such as rotating magnetic end caps, a seemingly endless range of RGB colors and excellent Lume Control App compatibility. The latter really is the best way to control the RGB Tube Light Mini, especially if it's part of a group of Lume Cube products.

App control also avoids the frustrating physical locking control dial, which I find myself constantly locking by mistake. It's also a shame there are only tripod threads on either end and not on the main shaft for horizontal mounting. Otherwise, the Lume Cube RGB Tube Light Mini is another great portable LED lighting solution from Lume Cube, and a light that will likely delight toy, product and creative portrait photographers, as well as videographers alike.

Alternatives

A key light is one of the first light fixtures many filmmakers will buy, being the one that usually provides the most light coverage on a subject. This means that there are lots of options out there from the cheapest eBay specials right through to high-end fixtures costing thousands. Recent years have seen an explosion in affordable but good quality lights, led by companies like Aputure and their sister company Amaran, aimed at creators.

I've used many light lights over the years and have found that the Amarans strike a good balance between performance, build, and budget, often with some handy extras and I'm sure this is why they have become so popular. The original 60d wasn't a bad light but the second generation 60d S, looks set to improve upon that much-loved light. I've spent quite some time using it in different situations, so does it hold up to that goal?

Amaran 60d S: Specifications

Amaran 60d S: Price

At around $169 / £180 the 60d S is well priced well, and comparative to lights from Godox, Neewer, and Zhiyun – making an excellent purchase for all kinds of users, without breaking the bank.

Amaran 60d S: Design & Handling

Recent Amaran lights have been very well built indeed. No, they aren't metal-bodied like their bigger siblings in Aputure's light storm range, but the plastics are good quality and vital components like power sockets, light stand mounts, and so on tend to be metal and this is true of the 60d S.

It ships in a tough expanded styrene case, which I'm a big fan of. They are light but offer pretty good protection and are better than some of the fabric bags you see elsewhere.

In this case, you get the light, a reflector dish, diffuser, mains power supply, and battery adapter plate, plus a light stand adapter and spigot.

While it's great that the light ships with a reflector and diffuser, these are the weakest parts of this kit. The reflector isn't bad but it does have somewhat of a bright central spot, at any range. The previous version had a more linear falloff.

It's nice to have a bit of diffusion out of the bag but at this size, it really doesn't do that much. That's nitpicking though. If Amaran had included a larger diffuser the cost would have risen substantially.

All in all the build quality is excellent here. It feels rugged while remaining light and while plastic, the Bowens mount should give ample support to all but the heaviest of modifiers.

Amaran 60d S: Power

Versatile power options are something that Amaran is very good at and the 60d S is no different. In the studio you have the mains power supply, with that good long supply cable but what if you are on location, in an extra large space, or simply don't have access to a mains socket? Well, the 60d S has a couple of options. There's that side-mounted v-mount, so you could add a large battery there, using the tap cable to power the light. This is a good option for some, although you will have to purchase the cable separately as it doesn't come in the case.

Personally I like the dual NPF adapter, which is included and does a fine job. Many users will already have a number of NPF batteries lying around as they are so commonly used in accessories of all kinds. This plate is lightweight which is always good when carrying gear for a shoot.

The only downside is really more of a missed opportunity. I would love it if Amaran had made it possible to charge the NPF batteries using this adapter. It's only a small thing but one less item to remember to bring with you.

The 60d S has a set of power options that are excellent and this really is a go-anywhere light.

Amaran 60d S: Performance

All that build quality and thoughtful design lends itself to a small but powerful light, making this one beast of a little fixture. The output from the 60d S is very impressive, with over 7k lumens and one meter, or over 5200 lux if you prefer to measure that way. This is a huge output for a small light that can pretty much go anywhere. It makes for a fantastic key light, although it will need diffusing to get the softness so many people want. The diffuser that comes with it is nice to have but isn't really up to much but then there's that Bowens mount. This is strong enough for most modifiers. I use it regularly with a meter-wide parabolic with zero worries. The mount is plastic though, so if you want to go huge then maybe look at a light stand Bowens mount and let the 60d S hang off the back of that instead.

I've also lit a large room with this, with a lantern modifier, hanging the light from a grip clamped to a ceiling beam, which worked perfectly.

Now, it's important to understand that this is a daylight lamp that works in its favor when it comes to power. Its sibling the 60x S may give bi-color output but that comes at the expense of significantly less output, something to keep in mind if both are on your shortlist. Personally, I find skin tones render best under daylight temperatures, making the 'd' the best option. The fact that you get higher output with the daylight version is a plus.

The newer Amaran light stand adapters are fantastic too. The top half has a mounting hole for an umbrella, for some extra options, and the whole thing is made of metal, so should last years.

Daylight color temperature is so important for lots of people and it's really good to see that Amaran has made sure this is accurate. The TLCI rating (the broadcast measure of color accuracy) is 99+ while the CRI is 96+. Both have excellent results, making for an easier life on a shoot and in post.

Amaran 60d S: control

The Sidus Link app is my preferred method of control for all my Aputure and Amaran lights. Partly as it means I get more attributes to control for some fixtures, partly as it makes it easy to adjust fixtures that might be rigged in hard-to-reach places but also as it means I can set up scenes for recall later. This is so handy for people using a similar setup multiple times.

That said the control system on the light itself is good. There's a button for connecting Bluetooth, while everything else is done from a single clickable rotary knob on the rear (other than the power switch). This sets the intensity by 1% increments while clicking and holding the knob increases intensity through a number of intensity presets.

There are a range of effects built in, something that is common to many lights these days. They are less useful on a single-temperature fixture but still nice to have.

Amaran 60d S: verdict

Amaran has struck a home run with the 60d S. It packs a punch for a small light, with excellent color accuracy, a great build, options for mains or battery power, and a standard Bowens mount, meaning there's a host of modifying options out there. Plus, it can be controlled along with other Amaran/Aputure lights with the Sidus Link app.

Alternatives

Although Neewer has been around since 2011 I didn’t get my reviewer’s eager hands on a Neewer product until early 2024 - and that was a cage for the iPhone 15 Pro Max. Since then I’ve tested and reviewed other Neewer cages such as one for the iPhone 16 Pro. As you’ll see from those reviews I was impressed with the quality and design of those Neewer products.

As well as smartphone cages Neewer makes a wide collection of LED (Light Emitting Diode) lights, from the super powerful (and super heavy) Neewer AS600B 600W to the less powerful but more colorful Neewer CB200C COB RGB LED.

Both of those LED lights are designed primarily for cable-powered studio work (though you can power the AS600B 600W via 2 chunky 26V V-mount batteries). The subject of this review - the Newer HB80C 80W LED - has a much ‘weaker’ power output of 80W compared with the 600W and 200W of the other two Neewer lights that I mentioned. However, it is also lighter than those LEDs and is designed to run from its chargeable (via USB-C port) internal battery for portable deployment.

The HB80C’s lighter weight and rechargeable battery suit my favored working method of shooting subjects on location rather than being tethered by a power cable in the confines of a studio. I find that shooting on location is more stimulating with a much wider range of backdrops to work with than I’d find in a studio. Though if you check out this review’s supporting video you’ll see that I tested the HB80C in a studio because I needed to light the LED to get some good product shots.

Neewer HB80C: Specifications

Neewer HB80C: Price

$199/£229.99 is a reasonable price for the Neewer HB80C 80W LED. It’s comparable in price to the similarly specced Zhiyun Molus X60 RGB. Like the HB80C this is an LED with the ability to produce thousands of creative colors and add animated effects, though the Zhiyun can perform for longer thanks to a supplied battery grip. However at 60W the Zhiyun Molus X60B isn’t as powerful as the Neewer HB80C’s 80W output, so for the same price you might as well go for the latter LED.

Neewer HB80C: Design & Handling

Immediately prior to reviewing the Neewer HB80C 80W, I tested the Neewer AS600B 600W LED. The latter was so heavy (18 kg with accessories) that it needed its own wheeled carry case with an extendable handle to transport it to my studio. I was therefore delighted (and relieved) to see that the Neewer HB80C 80W was much more compact and portable. Weighing in at 5.6lb/0.45kg in its branded Neewer fabric carry case, I could carry it easily in one hand. After unzipping the grey case via its light blue zip (the same branding color that matches the zip on the AS600B 600W’s larger carry case), I was able to access the case’s contents. These included the LED HB80C light, an adjustable grip handle to attach the LED to a light stand, a light stand adapter - basically a mini tripod - and a Bowens Mount Reflector. All of these components fitted snugly and safely into shaped foam inserts inside the case.

So let’s continue our unboxing by looking at the HB80C LED itself. The body of the light consists of a smooth silver metal alloy that has curved rather than sharp edges. These bevels make it more comfortable to hold in one hand, and it feels satisfyingly heavy (2.4lb/1.09kg) - implying a well-constructed quality build. On the front of its compact silver body is a black plastic disc housing the LEDs. At the base of the disc is a Bowens Mount which enables you to attach the supplied reflector (plus any third-party accessories such as lanterns). The reflector is constructed of black metal on its exterior to dissipate heat and has a silver interior to boost (and focus) the intensity of the light produced by the lamp’s LEDs.

On the rear of the light, you’ll find an ergonomically designed collection of controls. Four plastic buttons enable you to adjust Menu and Mode properties. A plastic ridged cylindrical dial enables you to adjust attributes such as color hue or color temperature. The dial also functions as an extra button. A small circular OLED display enables you to see the values of the various properties that you’re adjusting (such as Hue, Intensity, or a video effect). The layout of the controls and the design of the OLED’s interface is similar to the layout on other Neewer LEDs such as the CB200C COB RGB, so if you’re familiar with Neewer lights you’ll be up and running with the HB80C in no time!

A supplied compact metal tripod can be attached to the base of the HB80C so that you can use it hands-free, though this stand lacks the ability to tilt the light. You can collapse the mini tripod’s legs to create a handle that enables you to carry the LED in one hand and point it at a subject on location (while shooting with the camera/smartphone in your other hand). A useful grip adapter enables you to mount the HB80C on a lighting stand and adjust its angle, so you can use it hands-free and light your subject from an angle. Unlike the super heavy AS600B, the lighter HB80C doesn’t wobble alarmingly while mounted on a typical light stand.

Neewer HB80C: Performance

To test the HB80C, I took it to a TV studio and initially mounted it on its supplied mini metal tripod so I could demonstrate the various features of the light for my supporting video. I shot the video demonstration using an iPhone 16 Pro for the main wide shot of me and the LED, while an iPhone 16 Plus mounted on a RØDE Phone Cage captured a closer cutaway view of the LED’s rear control panel. I recorded the audio for the video using a RØDE Wireless Go 3 (which I was also testing for review).

As I’d already charged the HB80C’s internal battery via its USB-C port, I was able to power it up using the switch on the side. I could then tap the Mode button on the rear panel and use the tactile ridged control dial to alter properties such as color temperature. As a bi-color LED, the HB80C can emit an impressively wide range of colors in degrees Kelvin between 2500K - 7500K. This enables you to evoke (or complement) warm colors such as candlelight (2500K) through to colder daylight color temperatures. This color temperature range is wider than typical lights such as the similarly specced but much more expensive Zhiyun Molus B500, which can only stretch between 2700K - 6500K.

I used the control dial/button to dial in different color temperatures (or swipe more quickly between color temperatures by using presets such as Daylight, Tungsten, etc.). These settings were easy to view and control via the menu screens that appeared in the circular OLED display at the rear of the LED. You can also control the Neewer HB80C LED via an app. I didn’t do that on this test, but you can see a Neewer LED and app in action in my review of the Neewer AS600B.

One thing I love about the HB80C is its ability (as an RGB COB LED) to produce a wider range of colors than those in the Kelvin scale. This enables you to change the mood of the shot/video with a ghoulish green for Halloween or add a cool wash of moonlight by manually dialing in Hue, Saturation, and Intensity values using the Mode button and the cylindrical control dial/button. For faster color control, you can summon a spectrum of industry-recognized Lee color gel filters from a circular color chart. This offers a far faster way to change the light’s output than the traditional method of clamping sheets of color gel on a lamp’s barn doors.

This ability to change color also benefits the 18 video fx. You can summon a squad car which will flash blue and red, or cycle through a Hue Loop effect to bathe your subject in a cycling spectrum of colours. You can even get the light to flash to a beat using the Music Sync preset. When testing the LED we didn’t hear any fan noise, and if the fan does activate, it will shorten the LED’s runtime on a shoot. However, you can set the fan mode to Mute, which should give you an hour and a half of operation before you need to recharge the built-in battery.

Neewer HB80C: Verdict

I really like the HB80C and will miss it when it goes back to Neewer. I like its portability thanks to the built-in battery, which frees you from needing to attach it to the mains via a cable. If you’re a video maker, then you’ll enjoy using the HB80C’s wide collection of animated video effects (such as Explosion, TV, and Music Sync) to creatively enhance your footage. Indeed, the 18 effects will act as a springboard to your creativity.

Portrait photographers will appreciate being able to complement available light sources with accurate color temperature settings in specific degrees Kelvin or add washes of creative colors to change the atmosphere and mood of their portraits. If I were able to keep the HB80C for longer, I’d enjoy taking it to a location-based model shoot as it’s light enough to hold in one hand when you fold the mini tripod’s legs together into a handle.

I could also expand the tripod’s legs and free-stand the light on the top of the wall. Its output of 80W may not be as high as some other LEDs, but that’s more than enough power to light a video’s ‘talking head’ or a posing model, especially when the supplied reflector is attached via the light’s Bowens mount. All in all, it’s a solidly built LED that’s packed full of functions and offers good value for money.

Alternatives

Deals

Neewer produces a surprisingly wide range of photographic and video production accessories, from Teleprompters to smartphone cages. They also produce a range of continuous (always on rather than emitting a burst of flash) video lights such as the Neewer CB200C COB RGB LED video light.

LED (Light Emitting Diode) lights tend to come in two ‘flavors’ - bi-colour LEDS and RGB LEDs. Bi-colour lights such as the Neewer AS600B emit light within the Kelvin scale. This enables you to dial in a color temperature between 2700K (warm candlelight) to 6500K (cooler daylight). By changing colour temperature you can complement available light sources or adjust them to create a contrasting look. RGB LEDS such as the Neewer CB200C also produce light in the Kelvin range but they also enable you to dial in a wider spectrum of creative colors to change the atmosphere of your shoot. Personally, I’d always favor an RGB LED over a bi-color-only one as it gives you more creative colors to work with.

Despite being only a bi-colour LED the Neewer AS600B has a major selling point. At 600W output power, this LED blows all the other LEDs I’ve tested 'out of the water’ in relation to the intensity of its output. For example, the previous Neweer LED I tested in the studio was the CB200C. At 200W it could produce an intensity of 23000 Lux at a range of 1 meter with its supplied reflector attached. That’s the equivalent of 23000 candles. Thanks to its 600W power the Neewer AS600B can emit a retina-blinding 99000 Lux!

Neewer AS600B: Specifications

Neewer AS600B: Design & Handling

When I opened my front door to the courier he was staggering under the weight of a rather large cardboard box. I was able to drag the box onto my porch but was struck by how heavy it was. Inside the box was the Neewer AS600B’s carry case containing the LED, a power/control box plus a collection of accessories such as a Bowens mount reflector.

The wheeled robust fabric suitcase has an extendable handle so you can slide the Neewer kit comfortably along smooth floors as you take it to your location. However, it was a bit of a struggle to carry the case upstairs to my home office. On the scales, it weighed in at just under 40 lbs (just over 18 kg!).

Sometimes I travel to a local studio by bus to test kits for my reviews. In this case, I had to lug the Neewer AS600B’s case into my car to transport it to the studio. The case was easily wheeled to the studio but for the first time during a kit review, I had to use the lift/elevator rather than carry the case up several flights of stairs! Did I say this kit is heavy?

The heaviest component of the Neewer AS600B LED kit is the light itself. This weighs 11 lbs (5 kg) and is mostly constructed from aluminum alloy. The body of the light is an attractive dark grey bordered at the front with a black unit housing the LEDs. There’s an ergonomically designed black handle at the rear that you can use to angle the lamp on its supplied Neewer branded u-shaped bracket.

Unlike the previous Neewer LED that I’d tested in the studio (the Neewer CB200C), the Neewer AS600B did not have any control buttons or displays on its rear. All the controls are found on the supplied control/power box, which you need to plug into the studio power supply and attach via cable to the LED. The control/power box also has two slots to attach 26V V mount batteries so in theory you could operate the AS600B LED on location without connecting it to a mains supply.

However, given the 5 kg weight of the LED and the fact that you’d need to lug the control/power box (plus two heavy batteries), I would prefer to use a lighter and more portable LED on location. It’s important to note that when powered on location by battery the AS600B LED is limited to 300W output (compared to the 600W when connected to a wired power supply).

Neewer AS600B: Performance

Once I’d lugged/wheeled the AS600B LED to my studio I used the kit’s mounting clamp to fix the LED onto my light stand. Due to the LED’s 5 kg weight, the metal stand wobbled worryingly, so I made sure that the legs of the light stand were spread as wide a possible to provide support to the LED.

The Neewer AS600B LED is like the Zhiyun Molus G200 in that the LED is powered and controlled by a separate box. As with the Molus G200, the AS600B’s control box has a strap/handle that enables you to carry it. I was happy to hang the Molus G200’s control box from halfway up the light stand so that I could easily adjust its buttons and dials from a standing position. However, as the heavier Neewer AS600B LED was already making my light stand wobble I didn’t want to risk hanging its large control/power box on the stand too. I popped the Neewer’s control box on the floor at the base of the light stand so I had to crouch to operate it.

Fortunately, the control panel on the power unit has a similar look to the rear control panel on the Neewer CB200C, with a colorful OLED display that enables you to easily see what mode you have selected using the control buttons and dial on the unit. You can toggle between modes such as CCT or FX using the Mode button and then adjust properties (such as choosing a particular color temperature in degrees Kelvin) by rotating the large dial. The dial also acts as a button so you can press it to jump between various properties (such as adjusting intensity instead of color temperature).

As with most LEDs, the Neewer AS600B can also be controlled via a smartphone app. Since I was lighting myself I found this was a much easier and more effective way to control the LED’s output than by crouching by the LED's control box. I could stand in the middle of the studio and tap on presets to jump to a specific color temperature for example. I was also able to use the app to cycle through the 12 animated preset lighting effects (such as Paparazzi or Candlelight) and customize each preset (such as adjusting the intensity of warm Sparks in the Candlelight preset). The app certainly makes it easier to operate the Neewer AS600B if you’re a solo operator like me.

One thing I’d not encountered before in an LED was the ability to alter the curves used to make the app control the lamp. For example, you can use a linear curve to make the light intensity change abruptly as you adjust a slider. Alternatively, you can use an s-curve to make the adjustments ease in and out in a more organic way. This level of subtle control is a mark of the level of detail demanded by professionals. Another professional requirement is to have a heat dissipation system (or fan) that won’t interfere with dialog being recorded in your studio. The AS600B’s fan was silent during my test but it can manually be set to Auto, Low, High, and Silent if required. At 50 cm the fan will only measure 37dbA which should be negligible during a shoot.

Neewer AS600B: Verdict

At a mighty 600W output the Neewer AS600B will produce far more light (99000 Lux) than most videographers will need, and this power is reflected in its relatively high price. During my studio test shoot, I kept it set to around 50% of its full intensity to avoid being blinded (and having my highlights become clipped). This output was far brighter than my studio set-up required so the Neewer AS600B will be more useful on a location shoot. However due to the kit’s weight, I wouldn’t consider using it on location unless I was working with a crew, so it’s not going to suit the needs of a solo videographer. However, if you do work as part of a filmmaking team then the Neewer AS600B will give you plenty of firepower on location!

Alternatives

Another week, another innovative release from SmallRig, this time, a compact LED video light that’s perfect for both photographers and content creators.

If you’ve spent any time on TikTok or Instagram, you’ve likely come across talking-head videos where creators speak directly to their audience. In a space as crowded as social media, lighting is the one tool that can make or break your content, and that’s exactly where the SmallRig RF 10C Portable Focusable LED Video Light comes in, helping you elevate your short-form video game without breaking the bank.

Designed with flexibility and creativity in mind, the RF 10C is more than just a light – it’s a pocket-sized powerhouse. Measuring just 154x52x49mm, it’s small enough to carry anywhere, yet powerful enough to make a big impact. With its four-color LED beads (sunset orange, blue, white, and red) and 20 included light filters, you can experiment with creative effects to make your videos stand out. Whether you’re after a soft cinematic glow or a bold pop of color for your backdrop, this light has you covered.

But it doesn’t stop at video. The RF 10C can also be utilized as a creative photography tool, acting like a Fresnel light to add depth and drama to your shots. Its zoomable beam allows for precise control, while the included filters can cast artistic shadows and textures onto your scene, instantly elevating your still images with layers of interest.

The RF 10C is also ideal for creators constantly on the move. It features a lightweight, ergonomic aluminum alloy design, making it easy to slip into your bag for filming on location. Plus, the adjustable beam (10° to 60°) offers precise control, allowing you to focus the light exactly where you need it – ideal for creating a professional-looking setup even in tight spaces.

Its built-in rechargeable battery lasts up to 3 hours at full brightness, so you’ll never have to worry about your light dying mid-shoot. Whether you’re recording late-night content or shooting a quick Reel, this little powerhouse is ready when you are.

The light facilitates versatile mounting options, including three 1/4"-20 threaded holes, the RF 10C can adapt to any setup – tripods, clamps, or handheld rigs – making it the ultimate companion for smartphone video shoots.

In the competitive world of TikTok and Instagram Reels, capturing your audience’s attention within seconds is key, and high-quality lighting is often the missing ingredient. The SmallRig RF 10C ensures you’ll look polished and professional, even if you’re filming in your bedroom. Its portability, creative color options, and adjustable beam control give you the flexibility to craft videos that stand out in the scroll.

The SmallRig RF 10C Portable Focusable LED Video Light is available now for $52.99 / £53.90 / AU $87.90.

See our full SmallRig RF 10C review

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Check out our guides to the best lighting kits, the best-LED light panels, and the best LED light sticks.

SmallRig has just announced the SmallRig RC 220 Pro series COB light. Based on its extremely popular SmallRig RC 220, the updated model improves performance, versatility, and style – not to mention it's 24% smaller!

SmallRig is a leading manufacturer of video camera peripherals including camera rigs, batteries, and tripods. Recently, it has been developing some incredibly versatile video COB lighting options and the SmallRig RC 220 Pro series seems to have taken it up another notch.

COB lighting stands for Chip On Board, which describes the way LED lights are stacked to provide the light source. This new design of LED lighting has enabled continuous LED lights to become smaller, and in turn, more versatile. Lighting a film set no longer requires a truckload of lighting, but instead can be lit with several smaller COB lights, some as small as mobile phones, which has revolutionized indie filmmaking and content creation.

SmallRig already has an impressive selection of COB lights however, a newly developed modular body design for the RC 220 Pro series supports multiple power options via a V-mount quick-release mechanism. This facilitates extended battery life through a direct power adapter, direct v-mount battery attachment, or NP-F970 rechargeable battery.

Above: A video trailer for the SmallRig RC 220 Pro series COB light

Enhancements have also been made to the light quality and performance, by introducing three customized optical lenses and a new light source. A freshly designed COB chip ensures even and bright illumination while keeping the light body small, an optical lens for light diffusion and accurate color, and a plano-convex lens for precise focusing.

The new SmallRig RC 220 Pro series comes in either bi-color or daylight options, named RC 220B Pro and RC 220D Pro respectively. The maximum light intensity for the bi-color measures 9180 Lux whereas the Daylight output measures 10500 Lux.

The light provides greater options with a four-way light control suitable for 'any scenario,' say SmallRig. On-body control via a streamlined user interface enables quick and precise adjustments, the SmallGoGo App wireless control, control panel dimming compatibility, and DMX control to sync with other lights in the setup.

Other notable features of the Pro series lights include a silent cooling system, internal shock absorption, an adjustable handle, a long power cord, portable storage, and Bowen's mount compatibility.

The SmallRig RC 220 Pro Series COB LED Video Light is available now for $329.99 / £335.90 / AU$547.90. By looking at the specifications, it certainly improves on its predecessor in both form factor and performance and might become the go-to light kit for content creators and indie filmmakers.

Check out our guides on the best-LED light panels, the best lighting for video, and the best lighting kits.

Neewer produces a wide range of photographic and video production accessories, from Teleprompters such as the X14 III to phone cages such as the NEEWER 15 Pro Max Phone Cage. They also produce a range of continuous (always on rather than emitting a burst of flash) video lights such as the CB200C COB RGB LED.

I’ve reviewed many LED lights for Digital Camera World and there is a wide range to consider, from the powerful but portable SmallRig RC 60B COB LED to the Nanlite Forza 60C spotlight. I’ve also tested and reviewed LEDS from Zhiyun and Godox too, but as this is the first Neewer studio LED light that I’ve tested I was keen to see how it compared with the other brands. Oh, if you’re interested in the best photography and video lighting kit round-up, check out our buying guide.

Neewer CB200C COB RGB LED video light: Specifications

Neewer CB200C COB RGB LED video light: Price

It’s interesting to see that the US price is much lower than the UK price. For its features the Neewer CB200C’s reasonably priced, especially as its 23000 Lux output is much stronger than many other LEDS in the same price range.

Neewer CB200C COB RGB LED video light: Design & Handling

As soon as you lift the Neewer CB200C out of its case you can tell that it’s a sturdily built bit of kit, with a solid metal premium alloy shell and a heavy supporting bracket. The bracket enables you to angle the light body through 360º (as long as there’s not an accessory attached to the front), so it can illuminate a subject from any angle.

The light weighs over 6 pounds so you can instantly tell that it's designed to be supported on a studio light stand rather than be carted around handheld on location. Unlike some LEDs such as the Hobolite Avant Max, the Neewer CB200C isn’t battery-powered so it needs to be physically plugged into the mains via a cable. This cements its role as a studio rather than a location light.

The Neewer CB200C has a classic cylindrical design with a Bowens mount on the front to which you can attach your existing lighting accessories such as reflectors or lanterns. You can also mount reflective umbrellas and soft boxes on there too to modify the light produced by the LED.

On the rear of the light is a distinctive circular screen that beautifully complements the cylindrical design of the light’s body. This large full-colour screen displays a wide range of settings, enabling you to rotate the rear panel’s dial to select a color from a spectrum or dial in a specific animated bide effect such as Explosion. Being able to use a physical dial to adjust a range of properties is a welcome feature and it's more tactile than swiping a smartphone’s touch screen (when using the Neewer remote control app).

There is also a collection of buttons that enable you to change lighting modes or toggle through the fan modes that keep the LED cool. The fan is designed to be ultra silent and this proved to be the case on our shoot. I could hear the fan a little when I experimented by turning it to High-Speed mode, but the sound would be negligible if filming a subject from a few feet away. I left the fan on Auto Mode and didn’t hear it for the rest of the test.

Neewer CB200C COB RGB LED video light: Performance

I’ve used studio and location lights for decades and modern COB LEDS like the Neewer CB200C are amazingly fast and convenient to work with. With a traditional studio lamp I was limited to using one fixed colour temperature bulb. If I wanted to produce a specific colour temperature such as an average daylight 5600K I needed to peg a blue gel to the lamps’s barn doors. Other gels would be required for more creative colours such as a ghoulish green for Halloween shoot. If I wanted to re-position an old bulb lamp (even by a couple of meters) I’d have to turn it off as the bulb or it could blow in transit and shower the subject with molten glass. I do not miss the old days!

The Neewer CB200C is a COB (Chip On Board) light, so it's capable of producing a wide range of color hues in seconds that can dramatically change the look of your subject (without needing to clip gels to barn doors!). It mimics a wide range of physical industry-standard lighting gels and uses the same gel labeling system. For example you you can summon the results of a LEE 243 Fluorescent 3600K gel in a tap (rather than having to buy and attach a physical sheet of that gel specification to a traditional studio light.)

It’s also a bi-color light so it can emit color temperatures in degrees Kelvin, from a warm candlelight 2500K to a cooler daylight 7500K. This enables the light to accurately complement a wide range of available light sources in seconds. I was able to change the color temperature or dial in different gels with ease using the dial and panel on the rear of the LED, but it was even easier to control the light’s output from the Neewer app (as you can see from this review’s supporting video).

As well as a range of color cures and temperatures the Neewer CB200C can emit a series of 17 animated lighting effects, from the flicker of a Defective Bulb to the flashing lights of a Cop Car. This makes the light a useful resource for filmmakers who need to add some dramatic effects to their footage.

I was also supplied with a Neewer Lantern Softbox for my test and this clipped quickly and easily onto the Bowens mount of the CB200C. It produced a softer wash of light with softer and more flattering shadows, so it would be a useful accessory for portrait photographers.

Neewer CB200C COB RGB LED video light: Verdict

The Neewer CB200C LED is a very powerful studio light. If you need something light and portable then look elsewhere, but for a super strong studio-based 23000 Lux light source then this is good value for money. It will also save you money since you don’t need to purchase dozens of physical lighting gels to clip onto it. You can summon dozens of different industry standard gels in a few taps of the app (or twiddles and clicks via the dial on the rear of the light’s body.) If you own accessories such as soft boxes and lanterns then these will be compatible with the CB200C Bowens mount and umbrella slots.

Alternatives

Lume Cube's ever-expanding range of lighting equipment now includes an interesting alternative to the best LED light panels, the Lume Cube XL. 

This 60W RGB Mini COB (chip on board) LED Light and the compatible Power Grip XL (sold separately) is bigger and more powerful than the Lume Cube 2.0, but the company does state that the XL is "inspired by the DNA of the original Lume Cube design ethos".

This isn't hard to see. The XL looks like an original Lume Cube and conventional monolight mashup, with a spec list that will be familiar to existing Lume Cube customers. 

Just like the Lume Cube RGB Panel Pro 2.0 and RGB Tube Light Mini, the XL enables users to cycle through a full spectrum of RGB colors, and features a color temperature range of 2700K to 7500K. Unlike the aforementioned lighting products, it's received a slight boost to its CRI rating from an already impressive 96+ to 97+. 

As you'd expect from a Lume Cube product, the XL is compatible with the company's proprietary Lume Control app, so it can be controlled independently or as part of a group of XLs or other compatible Lume Cube lighting products, via Bluetooth Mesh. 

For the more tactile-minded, however, the unit features a pair of substantial-looking knobs and an LCD display. 

The Lume Cube XL also boasts seven special effects: loop, strobe, lightning, fire, candle, siren and TV. The unit comes with a Mini Reflector Cone, Diffusion Bulb and power cable, but does not contain an internal battery. 

For battery operation, the separately sold Power Grip XL is required. This aluminum, 74.52Wh battery grip can be charged via USB-C and is said to provide 1h 6mins of power at 7500K and 100% brightness, or 2hrs 6mins at 7500K and 50% brightness. 

Both products are available now, direct from the manufacturer. The Lume Cube XL is priced at $249 (UK and Australian pricing to be confirmed) and the Power Grip XL at $99.99. 

See our guide to the best LED light sticks or the best photography lighting kits.

When it comes to the retro aesthetic, few brands pull it off as well as Hobolite. They create small, versatile, vintage-inspired lights with a significant modern-day output, and two more have just been announced.

A little over a year ago Hobolite released the Hobolite Avant and Avant Mini offering a versatile LED lighting system that could fit in your pocket but could light a film set, earning a place among the best LED lights on the market. Now, a little over a year on, comes 2 new additions to the lineup – the Hobolite Avant Max and Mini Max.

Staying true to the existing aesthetics of the brand the Avant Max and Mini Max are also vintage-inspired, blending seamlessly into the range. However, where these lights do differ is with the innovative detachable 99Wh battery pack providing expanded output, meaning you can shoot for longer!

The Avant Max is an 80W LED light that offers Bi-color continuous illumination with 'true color accuracy' emitting a color range of 2700K to 6500K. The illumination output is greater than you might imagine from an 80W light as modern COB lighting can easily replace the brightness of multiple lights on set, and when used in combination with the detachable lens, the focus function provides almost 3.5 times the illumination.

The Avant Max is an extremely versatile option for content creators and filmmakers as even though larger than the Avant due to the battery pack, it is still incredibly compact and lightweight, with the added benefit of being more portable around set locations.

Functions such as the magnetic mounting system, Bluetooth, NFC tap, multiple power options, and an incorporated mesh network, further add to the light's ability to perform in challenging scenarios.

Helena Bian, CEO and Founder of Hobolite, states, "The Avant Max is a testament to our belief that 'if it can be imagined, it can be created.' It is designed for passionate individuals who view their work as an extension of their identity, and it empowers them to push the limits of their creativity and imagination."

The Mini Max is just as versatile and offers a 20-50 degree bi-color COB lens. The Mini Max has been developed with content creators in mind, with a detachable 99Wh battery pack that optimizes portability and ease of use, meaning your shoot can remain uninterrupted for longer.

The Hobolite Avant Max and Mini Max will be available in classic Hobolite brown and a sleek new midnight black colorway. Each will also be available to purchase in several kit options such as standard, creator, and travel kits, each offering bundled accessories for the given scenario.

Pricing for the Avant Max starts at $699 / £699.60 for the standard kit and starts at $599 / £598.80 for the Mini Max standard kit (Australian pricing to be confirmed).

You may also be interested in our guides to the best video lights, the best lighting kits, and the best-LED light panels.

Profoto is one of the go-to light manufacturers for professional photography studio lights, providing the perfect combination of light quality, ease of use, and versatility. However, despite its lofty position in the photography light market, it has never produced a continuous light dedicated to video - until now! 

The Profoto L1600D is the first video light developed by the light manufacturer, and what a way to introduce yourself to the world of video lighting than with a powerful cinema light. The compact LED video light unit incorporates 'state-of-the-art technology' designed for fast and powerful use on set for gaffers and DOPs.

The use of the term 'state-of-the-art' is often thrown around with abandon when it comes to new product releases, but in this case, it's not wrong. 

Profoto CEO Anders Hedebark says, "We have worked hard refining our technology to ensure we introduce not only the best but something unique that truly delivers customer value. The L1600D is a compact, all-in-one unit without a ballast. It brings an unparalleled power-to-size ratio. It is a new product category that we call Mono-LED".

With such a small unit delivering such a vast amount of power from an integrated battery, a concern that comes to mind is overheating. However, Profoto has this covered by incorporating a system borrowed from high-end gaming PCs. 

Hedebark continues, "Our patent-pending water-cooling system, HydroCTech is the heart of this compact Mono-LED. There is no floor unit; no more hauling heavy equipment around. It saves a lot of time on set and is more ergonomic to use".

The compact size and the lack of external battery packs will certainly appeal to use on set, and at just 50 x 26 cm, I imagine these will start popping up on film sets in no time.

As is the case of all Profoto products build quality and design plays an important role in the L1600D. The IP54 classification adds to this build enabling unaffected use regardless of how challenging the situation on set might be.

Another recognizable attribute of Profoto's photography products is the superb quality of light emitted from the various models, which is said to have also been assigned to its first video light. 

Profoto product manager Anton Falk says, "The L1600D offers the purest of light, and a lot of it, with the highest degree of light shaping possibilities. We have created an impressively efficient piece of equipment with our Mono-LED technology. 97% of the electricity is harnessed and used from input to output, which is at least 20% more efficient compared to other solutions with ballast and head".

The light can be controlled and shaped by the light shaping modifiers compatible with the L1600D's dual mounting options. The Profoto mount enables compatibility with the extensive Profoto Light Shaping Tool lineup, the second option is the versatile Bowen's mount. 

Other notable features include a color temperature of 5700K, flicker-free at any frame rate, 2 silent fans, Lumen radio, XLR, Bluetooth, and Profoto Air Radio connectivity. 

The Profoto L1600D will premiere at CineGear, Warner Bros Studios, Burbank, CA, on June 7, 2024. There, more details regarding pricing and availability will be released. 

I can't officially back up any of the claims as we haven't yet received a unit, but Profoto is one of the leading light manufacturers on the market for a reason, and I am excited to see its video lighting range develop. 

You may also be interested in our guides to the best-LED light panels, the best video lights, and the best photography lights.

The Molus B500 is part of the Zhiyun Molus B range of studio lights which also includes the B100, the B200, and the B300. When given a choice of model to review we went for the B500 as it was the biggest and brightest COB (Chip-on-board) LED in the range, and thanks to its 500W of power it is capable of an eye-blinding 76400 LUX when you attach the supplied reflector to it! A light of this size, weight, and output is designed for studio work, so I tested it in a studio environment - see my supporting video in the Performance section. Indeed it may be too powerful for some photographers and videographer’s needs so it’s worth researching the less powerful versions in the Molus B range before making a purchasing decision.

Like its B range siblings, the Molus B500 is designed to give filmmakers and photographers precise control over the light’s color temperature so that they can get it to complement the color temperature of other light sources as a key light or change the mood of stills and clips with a warm, neutral or cool color temperature emission. The color temperature range of the B500 is extensive, from a warm 2700K to a much cooler 6500K. The light takes advantage of its ability to produce a variety of color temperatures when you trigger animated lighting effects such as CCT Loop, Candle, and Lightning. This should make the Molus B500 a useful asset when adding lighting effects for studio-based video shoots. 

In my quest for the best video light, I’ve reviewed previous releases in the Molus range before with the Molus G200, which I shot in the same studio as the B500. The 500W B500 is a much more powerful LED than the 200W G200 and the B500 boasts design innovations in relation to power and cooling - as I’ll explain in this review. LED lights come in all shapes and sizes, from portable battery-powered light sticks to chunky studio COB lights like the Molus B500.

Zhiyun Molus B500: Specifications

Zhiyun Molus B500: Design & Handling

The mighty Zhiyun Molus 500B shares several of the design features found in the palm-size Zhiyun Molus X60 RGB, though at 500W of power, the 500B blows its 60W cousin out of the water when it comes to output. Both LEDs are easy to control thanks to two dials placed on opposite sides of the light. 

One dial controls brightness while the other changes color temperature. You can see the chosen color temperature and brightness setting on a small but useful screen on the rear of the light. The two dials double up as buttons that you can press to choose animated modes that will enhance video clips (such as Firework, Explosion, and Lightning). You can also press a dial to jump between 5 levels of brightness or change color temperature more quickly in 5 preset increments. This consistency of design enables you to get up and running with any Zhiyun Molus model very quickly.

The Molus 500B also boasts the Mk 5 version of the DynaVort Cooling System found in other Molus models. This highly visible cooling system (with circular metal grids on the top and sides of the light) includes two pressure sensors to eliminate turbulence and optimize airflow, resulting in improved heat dissipation efficiency within a smaller space. This more compact cooling system enables the Molus B500 to be up to 70% lighter than other LEDs of equivalent power. 

The power source is built into the body of the light so there’s no need for a bulky power supply box to clutter up the studio floor. Simply plug an AC cable into the rear of the light and you’re good to go. 

Zhiyun Molus B500: Performance

In my supporting video review, I point out that the Molus B500 ships in a branded cardboard box rather than in a more robust carry case. I’ve just reviewed the small Molus X60 RGB which ships with a nice branded carry case, but in fairness, the larger Molus B500 is a studio light that you’re not likely to carry around on shoots, so it doesn’t need a dedicated carry case like its more portable X60 RGB cousin.

Once I’d freed the Molus B500 from the cardboard box’s foam-padded interior I mounted it on a studio light stand, attached the supplied reflector with a twist and a click, and plugged in the AC ‘kettle lead’ into the rear of the light. After a flick of the ‘on’ switch I was able to rotate the Dim button on the left of the light to change the brightness to the LED and rotate the opposite CCT button to change the color temperature between a range of a warm 2700K and a cooler 6500K. Check out my supporting video to see the lamp and its features in action. 

Thanks to its 500W power I had to dial the intensity of the light down to 60% output to avoid the highlights becoming clipped on my test subject. As well as controlling the LED via its two dials I was also able to adjust intensity and colour temperature via the ZY Vega smartphone app. This app is very handy for solo operators who need to control lighting remotely. 

To test the DynaVort cooling system I whacked the brightness up to 100% and set the color temperature to 6500K. The fans were triggered and they were audible when I stood next to the LED, but the fan noise was quiet enough to be negligible when recording someone standing in front of the camera a few meters from the light.

Zhiyun Molus B500: Verdict

Thanks to its 500W power the Molus B500 is certainly powerful enough to provide a strong key light in any large studio environment. If you’ve used any Zhiyun Molus lights in the past then you’ll get up and running quickly with the Molus B500 - indeed it’s two dials are simple enough for newcomers to master too! Its comprehensive range of color temperatures enables you to mimic a wide range of light sources, from candlelight to daylight. 

Its universal Bowens mount compatibility means that the Molus B500 can be used with other accessories that you might already own such as soft boxes. But if you don’t need to produce 76400 Lux (at 1m with the reflector) then save yourself some money and buy one of the less powerful lights in the Molus B series, such as the B100, B200 or the identically sized but slightly lighter B300.

Alternatives

Lighting manufacturer Rotolight has been diversifying  its product range to appeal to camera phone-centric content creators. Whether you are a vlogger, filmmaker or photographer, chances are you struggled to get decent light levels when you broadcast yourself on YouTube or joined video conferences with friends and family. Even if you were able to repurpose some of your core camera kit, perhaps it all felt a tad over-elaborate, like using the proverbial sledgehammer to crack a nut. 

That has all changed now, with the very reasonably priced Ultimate Vlogging Kit. You get an LED light and all the accessories you need to illuminate your video selfies; it’s battery-powered and like your camera phone, simplicity itself to use. What’s
more, you’ll get some change from £100 or $100. 

Specifications

Light source: Stealth RL48-B LED

Lux (at 1 metre): 242 (1,000 lumens)

Powered by: Three AA batteries

Filters included: LED 204, 205, 216, 184

Beam angle: 140 degrees

Circumference: 13.3cm (5.24in) 

Depth: 2cm (3/4 in)

Mount: Shotgun mic or RL48 stand

Pack contains: Stealth RL468-B LED light panel. Rotopod three-legged stand, Support arm and clip, Twin accessory bar, Four-piece filter set, Adjustable phone clip

The kit is based around Rotolight’s Stealth RL48, a circular LED panel with a diameter of 13.3cm (5.25in). It’s powered by three AA batteries that are inserted on the rear panel, and which will give continuous light for four hours – far more than your cameraphone’s storage capacity for byte-hungry video footage. 

A set of four drop-in filters ships with the kit; these are inserted under the transparent front cover and enable you to tailor the light’s output to suit the lighting conditions. They comprise two color temperature filters (LED 204: 3200K and 205: 4100K) and two diffusion filters (184: skin tone and 216: white diffusion). The diffusion filters can be used with the color temperature filters if necessary, and an insert that summarises when to use which filter is included in the kit. 

Performance

This kit is user-friendly and can be set up in seconds. Place the support arm on the rear of the light panel and secure it by snapping the Rotolight-branded clip through the front of the panel. Then screw the three-legged stand into the accessory bar before mounting your cameraphone and light panel at either end. Use the push-button clamp to on the stand to get the desired angle and you’re ready to go. We attached a lavalier mic to our phone to capture some video game player footage, and were very pleased with the outcome – using the 184 (skin tone diffusion) filter in daylight produced an even spread of light that warmed up the scene and flattered
the faces of our subjects. Niall Hampton 

Verdict

Pitched at content creators and YouTubers, Rotolight’s Ultimate Vlogging Kit feels like great value for money. Easy to set up and straighforward in use, it certainly does what it’s designed to do – and for those occasions when you might not actually be creating any content, you could use it for reading or for casting yourself in a better light in these times of regular videoconferencing. 

As video makers and photographers, we have a wide choice when it comes to choosing LED lights to illuminate our subjects. Unlike traditional flashguns, LED lights such as SmallRig’s RC 60B  provide a constant light source, so there’s no need to sync a burst of flash with the camera’s shutter. 

LED lights vary in power and design. Light wand LEDs, such as the Zhiyun Fiveray F100, look like light sabers and can emit a range of gel-like colors as well as provide animated light patterns such as Lightning and Flickering TV sets.

The SmallRig RC 60B is a COB (chip-on-board light) that looks and behaves more like a typical studio light. As a 60W bi-color light you can adjust its colour temperature to complement daylight or indoor light sources. You can also adjust the intensity of the light's output to avoid over-exposing your subject.

However, the RC 60B also shares properties with wand lights in that it is much more portable than typical studio lights such as the much more expensive and heavy SmallRig RC 350D. This makes the RC 60B a useful tool for photographers and video makers who need to get out of the studio and light their subjects on the go in a variety of differently lit scenarios. 

The SmallRig RC 60B, being a bi-color LED, you can change the color temperature of its output between a range of 2700K-6500K (degrees Kelvin). Typical daylight is measured in 5600K, so the RC 60B can emulate a wide range of light sources, from an indoor tungsten bulb at 2500K to bright daylight at 6500K. 

You can also control the intensity of the LED’s output to add a strong key light from a distance or gently fill in some shadows on a model’s face. The light ships in a padded carry case that includes a hyperreflector. When you clip this reflector to the lamp its output is a striking 11,200 Lux. 

SmallRig RC 60B: Design & Handling

The RC 60B was much smaller than I expected - I could hold it in the palm of my hand. The supplied handle that you attach to its base has a rubberized textured grip so the RC 60B can be carried easily and secularly in one hand. Once you clip the hyper-reflector it looks just like a mini studio right, but you can take it anywhere. 

At only 650g you can hold it in one hand while shooting with the other. The kit includes a handle that you can screw into the base of the lamp which makes it comfortable to carry. There’s also a tilt-able light stand mount that enables you to operate the light hands-free.

Two rubber and textured knobs enable you to adjust various properties of the lamp with ease (even if you have sweaty fingers). The knobs also act as buttons, so you can adjust color temperature or intensity. You can also use the knobs and buttons to access the 9 lighting effects and adjust properties such as the frequency of lightning flashes or the color temperature of a paparazzi flashgun.  All the settings are displayed on a handy 1.3-inch LED screen.

The lamp is constructed from a flame-retardant plastic body. As well as the two main control buttons it features three smaller buttons and switches to turn the lamp on or change its mode. Quality-wise these little buttons are reminiscent of buttons you’d find on a plastic alarm clock, so they look like they could be damaged if you dropped the LED. However, at around $200 the RC 60B is a budget light compared with the more expensive SmallRig RC 350D COB LED which retails at over $800. As they say - "you get what you pay for".

SmallRig RC 60B: Performance

To test the RC 60B I booked a TV studio, since the lamp looked like a studio light from its picture. On opening the carry case I was surprised at how small and light it was. Once I attached the handle and reflector to the LED I had all the light sources I needed to film a series of clips at different locations in the building.

I used the RC 60B as a key light when in dark corridors or as a fill light when daylight streamed through a window. At the twist of a knob, I was able to make the color temperature of the lamp complement existing light sources, from cold daylight to warm indoor light. I was able to shoot holding my iPhone in a SmallRig cage in one hand while carrying the RC 60B comfortably in my other hand. Occasionally I press ganged a pal to hold the RC 60B like a portable light stand so I could change its angle pin my subject.

I was impressed at how wide an area the light could illuminate and I rarely needed to to shine at 100% as this was too strong a light source for my subject.  The built-in fan kept the RC 60B cool enough to operate without interfering with my audio (as you’ll hear from this review’s supporting video).

Unlike larger studio lights such as the SmallRig RC 350D COB, the SmallRig RC 60B has an internal battery that you can charge via its USB-C port. This gives you a wireless solution to lighting a subject in any location (without worrying about access to a mains supply). 

Our test kit shipped with a SmallRig power bank adaptor that clips on the back of the light. This mount contains a clamp that can hold a typical power bank which you can connect to the RC 60B to extend its operating time.  The RC 60B’s internal battery should give you around 45 minutes of illumination at maximum power, or 75 minutes in ECO mode. We must point out that the RC 60B can only achieve its maximum output if you connect an external 65W-100 PD power bank to it.

I was initially confused by the Eco button which is designed to extend the shooting time of the lamp. After charging the RC 60B I was able to produce a strong light source but nothing seemed to change when the Eco button was pressed. I realized after some research that you only get the maximum output from the lamp when a power bank is attached to the supplied clip-on mount (after which you can toggle between Eco mode and full power!)

The RC 60B also provides a collection of 9 animated lighting effects that emulate the flashbulbs of the Paparazzi or add flashes of lightning to your drama productions.  You can change the color temperature of these lighting effects but you can’t add colored gel-like effects (such as the blues and reds of a police car for example). 

SmallRig RC 60B: Final Verdict

The SmallRig RC 60B COB LED is an attractive purchase because it combines portability with power. You can light a subject in any location without worrying about access to cable power supplies. Even when powered solely by the interior battery we found the light source was too bright on full power, so you should be able to comfortably enjoy an hour-long shoot (or much more if you clamp a power bank to its clip).  Being able to adjust color temperature is a valuable feature too. 

The 9 animated light presets could be useful for drama creators (using effects such as Fireworks or Flame). However unlike other LEDS (see alternatives section) the lack of vibrant gel-like colors such as blues, greens, and reds means that the animated effects are limited to the Kelvin scale of warm to cool variations. So you can’t use the RC 60B to emulate the blue and red flashes of an emergency services vehicle or produce a more colorful firework display for example. 

For its price, this light does provide value for money and thanks to its carry kit you’ll enjoy transporting it to a shoot and adding a range of lighting effects to your subject. 

Alternatives

The Hobolite Micro Creator Kit is another palm-sized LED light, though it only packs 20W of power compared to the SmallRig RC 60B’s 60W. However, it does a great job of illuminating portraits in any location thanks to its built-in battery. The Hobolite Micro also produces animated lighting effects to enhance your video productions. Like the SmallRig RC 60B the Hobolite Micro is a bi-color light, so you can only change its color temperature. 

However, it ships with a collection of 6 magnetic color gels that enable you to change the mood of your clips and stills by adding blues, greens, etc - something you can’t do with the RC 60B. The Hobolite Micro is also cheaper than the SmallRig RC 60B (which reflects its lower 20W power output).

The Lume Cube RGB Panel Pro 2.0 is the follow-up to Lume Cube’s flagship on-camera light, the RGB Panel Pro, one of the best LED light panels available. The device’s constant LED light makes it especially suited for videographers, but it’s also an attractive prospect for photographers who crave softer lighting. Its smartphone form factor means it’ll slip into even the most compact kit bags, as opposed to a bulkier flashgun.

• Read more: best lights for YouTube videos

The average content creator will likely spend most of their time utilizing the standard, white light source, but the Lume Cube RGB Panel Pro 2.0 can emit a huge spectrum of colors and comes with a variety of lighting presets too. It features onboard physical controls but can be operated via the Lume Control app as well.

Its smartphone-sized form factor makes it an attractive lighting solution to keep stowed in your kit bag and with Lume Cube’s tried-and-tested LED lighting pedigree, we’re expecting this to be another fine addition to the California-based lighting company’s ever-growing roster of products.

RGB Panel Pro 2.0: Specifications

RGB Panel Pro 2.0: Key Features

Inside the box you’ll find the Lume Cube RGB Panel Pro 2.0, clip-on diffuser, velvety drawstring pouch, woven Lume Cube branded USB-C to USB-A cable, and hot-shoe mount. The latter screws into the device's standard 1/4-inch thread, meaning you can attach it to most tripods and accessories.

The RGB Panel Pro 2.0 comprises 204 LED lights and can output 595 Lumens, and 835 lux at a distance of 0.5 meters. It boasts 16 million color options, color temperatures of 2700K-7500K, and seven presets that replicate various lighting scenarios such as a flickering TV and flashes of lightning. It also doubles as a power bank.

The device has a single USB input – USB-C Power Delivery. Lume Cube rates the battery as being 20% better than the previous offering, boasting four hours of power at 50% brightness and two hours of power at 100% brightness. And although we don’t know exactly what settings were used to determine those figures, the LCD screen’s fluid battery indicator changes as soon as you input a new setting so you can always keep tabs on the available juice.

RGB Panel Pro 2.0: Build & Handling

Lume Cube refers to the RGB Panel Pro 2.0 as having a: “New, more durable exterior.” And while we don’t have its predecessor to physically compare, its aluminum casing does feel very solid in the hand. Gone are the RGB Panel Pro V1’s visible screws; the entire panel is now seamlessly encased. It’s also the same weight as its predecessor: 0.51lb/0.23kg. This is light enough to add minimal heft to your kit bag, but just heavy enough to feel solid in the hand. 

As far as LED panels go, it’s a nice-looking device. The metallic blue Mode button has a cool, premium feel to it, as does the beveled edge surrounding the postage-stamp-sized LCD screen. The matte aluminum case is a bit of a fingerprint magnet, but it’s a smart little light nonetheless. 

As with previous iterations, the controls are positioned down the side of the device and although it might not seem like a big change, the inclusion of a dedicated power button that flicks up and down is a welcome quality-of-life upgrade. The RGB Panel Pro V1 required you to hold down a button to switch the device on/off, while also doubling as the Mode button. When you’re constantly turning the light on and off to conserve power between shots or takes, holding the button down for a second or two quickly becomes a bit of a chore and the new switch completely eliminates this.

The dial that’s used to increase/decrease the selected value is springy, so you can push it inwards, but it will spring back when you alleviate the pressure. Pushing it in locks the dial, so if you’re holding the light or adjusting its positioning, you don’t inadvertently change your settings. On the one hand, this is a clever feature, but on the other, we found ourselves constantly attempting to use the dial, only to inadvertently lock the wheel in the process… Overall, we’d rather have a locking mechanism than not, but a dedicated locking switch would be high up on our wishlist for an RGB Panel Pro 3.0. 

The clip-on diffuser fits sturdily on the device and if our original Lume Cube Panel (from 2019) is anything to go by, it’ll prove surprisingly sturdy, too. It’s just a shame the tabs used to grip the light aren’t spaced a little further apart as we found they had a tendency to get in the way when screwing on a tripod plate. This never prevented us from attaching the plate securely, it just made things a little bit more fiddly. On that note, and just like the previous Panel Pro, you have two standard 1/4-inch tripod screws, allowing you to mount the LED panel horizontally or vertically on a tripod. 

The Panel Pro 2.0 features a more in-depth menu system than its predecessor and navigating this with physical buttons can prove a little frustrating. However, any potential grievances with the physical controls dissolve into the ether once you fire up the Lume Control app. We had no problem pairing our panel and found the interface intuitive, and most importantly, extremely responsive, with minimal to no lag. Add in the ability to control and group multiple lights and you have full control over your lighting setup with the tap of your smartphone’s screen.

RGB Panel Pro 2.0: Performance

The light takes a couple of seconds to boot up, while you’re greeted with the Lume Cube logo on the LCD screen. Since you no longer have to hold the power button down, you can flick the switch and move on, without having to wait for the light to flicker to life. The RGB Panel Pro 2.0 remembers the last settings that were inputted, which is useful since you’ll likely be turning the light on and off to conserve power.

Just like the original RGB Panel Pro, the light itself can be fine-tuned from 1% to 100%, in 1% increments, meaning you have plenty of control over the brightness. For what it’s worth, the very first Lume Cube Panel could only be adjusted in 5% increments. Lume Cube rates the RGB Panel Pro 2.0 as 10% brighter than the last generation ‘Pro’, but stacked up alongside our 2019 Lume Cube Panel, the latter seems ever so slightly brighter. 

This isn’t necessarily a negative. The RGB Panel Pro 2.0 emits a more attractive, even light and this is at least partially due to the fact that the original Panel’s LEDs are bare, whereas the RGB Panel Pro 2.0 has a very thin built-in, fixed diffuser, in addition to the plastic clip-on diffuser. But what really matters is that all of Lume Cube’s panels have proven suitably bright for our purposes. They’re a great constant lighting resource for videographers, YouTubers, and vloggers, as well as product, toy, and macro photographers. 

If you’re working with a tiny subject or require a gentle highlight, maximum brightness isn’t everything. At the other end of the scale, the RGB Panel Pro 2.0’s LEDs scale down nicely. We set our Lume Cube Panel to its lowest brightness setting (5%) and with the Panel Pro 2.0 on the same setting, it was notably softer and still had the headroom to be dimmed down to 1%. 

The color temperature range of 2700K-7500K is broader than most photographers and videographers will ever need and with the addition of a full spectrum of colors, you’ve the ability to address almost any lighting situation you can think of. 

The built-in effects are geared towards videographers, the Siren, Lightning, and TV effects are our favorites. The effects are a nice feature to have in a pinch, but customization options are limited. You can edit the frequency of the effect in question from values of one to 10 and the brightness can be changed on the fly, too. Although, in some instances, we noticed that this seemed to interfere with the consistency of the effect’s flashing. 

You can’t change anything else though, meaning you can’t alter the warmth of the Fire effect, for example. The Strobe effect will flash in any color that was last used, but the inability to change this on the fly is a shame. The Loop effect cycles through a series of colors, but always starts on red and this cannot be changed, either.

The USB-C Power Delivery provides decent charging speeds and the panel can be operated while charging too. The power bank is rated to supply 0.8 charges of Apple’s most advanced iPhone (at the time of writing), the 14 Pro Max, and a full charge of any standard iPhone (available at the time of writing). This is nothing groundbreaking, but it’s an extremely useful feature to have in a pinch. Especially when the light is small enough and light enough to be a permanent fixture within your kitbag, whether you intend to use it on a shoot or not. 

RGB Panel Pro 2.0: Verdict

The Lume Cube RGB Panel Pro 2.0 isn’t the step up that its predecessor provided over Lume Cube’s original Panel, but it’s still one of the best portable LED lights on the market. It’s not nearly as affordable as, say, the SmallRig RM120 – but We’ve not had a Lume Cube product fail yet, so we’d expect this little light to weather general wear and tear like a champ. 

It emits a suitably bright light, it’s big enough to produce a nice even beam but is small enough to slip into the most overpacked kit bag. The preset lighting effects aren’t perfect, but they pair nicely with the fantastic standard light, endless spectrum of colors, and power bank functionality to create what is perhaps best described as the multi-tool of portable LED lighting. 

You won't want to go on a shoot without it! 

Read More: Looking for something a little more specialist for a quirky portrait shoot? Try the best LED light sticks and light wands. If you're looking for lighting accessories, check out the best light stands.

Lighting can make or break an image. Sometimes there’s not enough light, leading to high ISO-induced noisy stills and clips. At other times the available light source may be in the wrong place, which limits our compositional choices. We don’t always have the time or the patience to lug a bulky professional lighting kit around with us which is why the SmallRig RM120 RGB Video Light could be the solution to many photographers and videographer's lighting requirements, especially when it comes to portrait photography.  

Featuring 120 LED beads this palm-sized panel kicks out an impressive 1580Lux (which you can dial down to avoid blinding your subject).  If you’re shooting with a group then you can promote a friend to the role of ‘light stand’ and get them to position the light to illuminate your subject while you focus on directing and composition. We had fun testing the RM120 on a long photography walk through London, but we’ll talk about that in detail in this review's performance section. 

SmallRig RM120: Specifications

Weight: 204g
Dimensions: 125 mm x 75.2 mm x 15.5 mm
CRI: 98+
TLCI: 98+
Output: 1580 Lux @0.3m
Colour temperature: 2500K - 8500K
Input Power: 15 W
Run time: 3 hours
Features: 12 Lighting Effects modes, cold shoe adapter

SmallRig RM120: Key Features

Unlike COB (Chip on Board) LEDs, the RM120 has CCT mode which enables you to dial in a wide range of color temperatures in degrees Kelvin. This enables you to get the light emitted by the RM120 to match other light sources so there’s no colour clash. 

For example, the average color temperature of sunlight at midday is around 5600K. If the sun is used as the dominant key light you can set the RM120’s mode to CCT and dial in a matching color temperature of 5600K. You can then place the LED close to your subject’s face and use a second dial to adjust its output so that it fills in some of the harsher shadows caused by the key light (the sun).  If you’re shooting under artificial light (such as tungsten) it’s a quick and easy operation to dial the RM120 to emit a complementary color temperature of 3200K.

COB LED lights such as the SmallRig RM01 force you to produce more creative color outputs by adding a range of gels to the light. The RM120 has an HSI (Hue, Saturation, and Intensity) mode that you can toggle to at the tap of a button. This enables you to dial in a wide range of colors from any part of the spectrum.  You can also change colors with precision by dialing in separate RGBW (red, green, blue, and white) values. 

If you’re a video maker then the FX mode gives you access to creative animated specials effects such as a flickering candle or the obligatory emergency services flashing lamps - though the RM120 has a wider range of vehicle effects to summon - such as Police Car (alternating red and blue) to Ambulance (flashing blue) to Fire Truck (flashing red).

SmallRig RM120: Build & Handling

At first glance, the SmallRig RM120 looks like many other mini LED panels, but there’s more to its build than meets the eye. Once you peel off its white rubber diffuser (which is designed to make it emit a softer light) then you encounter a dark metal body (rather than the usual plastic build that you’d expect). This makes the RM120 more robust than many of its peers. I did drop the light onto a hard floor which caused my pulse to race, but I was relieved to discover that it was still fully functional. 

The business end of the light (where the LEDs are inserted) is made of plastic. On the rear of the metal body is a small color LCD screen. This is really handy at enabling you to see what mode you’ve selected, plus you can dial in various color temperatures or RGB colors with precision by referring to the values on the screen. 

On the right-hand side is a Mode button to change from CCT to HSI to RGBW to FX modes in a few taps, plus a couple of dials. One of the dials adjusts brightness while the other changes a host of values for various color hues or temperatures.  There’s also a dedicated on/off switch which is handy.

At the base of the RM120 is a thread so you can attach it to a stand or tripod if you want to go hands-free. A supplied dual-head cold shoe adapter enables you to attach the LED to a DSLR to act as a key light, or you can slot the RM120 into a smartphone rig such as the versatile SmallRig All-In-One Video Kit. 

SmallRig RM120: Performance

To test the RM120 I popped it in my kit bag on a photography walk through London.  I was walking with friends so there was always someone on hand to hold the LED and position it near another friend’s face. In bright sunlight, the RM120 wasn’t required, but when we encountered graffiti-covered tunnels it became the perfect accessory for a spontaneous portrait shoot. Due to its small size, we could get the RM120 nice and close to the subject. To keep the light out of the shot we got the camera close too which enabled a more intimate portrait shoot. 

The ability to dial in a range of colors encouraged us to experiment with more creative mood lighting, such as a 'green man' look. Because we could position the light by hand it encouraged me to go for a low-angle lighting position, adding upward shadows that created a sinister film-noir-style portrait.

I’ve also enjoyed using the RM120 as a light source for product and toy photography. When I want to change the color of the LED for a creative look I enjoy the fact that I can dial it in rather than having to rely on a more limited collection of physical coloured gels. I also used the RM120 when reviewing the PhotoSport X backpack. I needed some product shots of the bag but the gloomy forest I was in lacked any strong key light. By placing the RM120 just out of shot I was able to get cleaner and clearer pictures of the backpack, plus the key light helped bring out the shape of the bag via a contrasting mix of light and shade. 

SmallRig RM120: Verdict

The RM120 is something I’ll keep in my kit bag. It’s small enough to carry around yet emits a strong enough light source to add a key or fill light when required (though you do need to get it fairly close to your subject). The ability of the light to emit any color provides a springboard to a more creative photo shoot - as was evident when I gave the light to photographer friends on my test shoot. 

If you’re a videographer then you’ll find creative inspiration from its collection of animated FX. When it’s not in my kit bag the RM120 sits on my desk so I can have a quick and easy lighting set-up for my toy or product photography. If I didn’t already have this marvelous light I’d buy it. You won’t regret doing the same.

Read more: find out more about the best video lights or best lights for YouTube in our guides.

As the debate about returning to the office rages on, there is no denying that video calls are the future of work and here to stay. One of the biggest issues affecting the quality of a video call is poor lighting, whether it is strong backlighting from a window, overhead office lighting, or just no light at all. 

Enter the VC-Lite from Lume Cube. The VC-Lite is a small battery powered light that can be stuck to the lid of a laptop or back of a monitor with its included suction cup mount and provides a bright LED light to improve your drab video calls.

VC-Lite: Specifications

Brightness: 0-100%, 1080 Lux at 0.55m, adjustable in 5% increments
Color Temperature: 3,200K - 5,600K, adjustable in 5% increments, CRI 96
Battery: rechargeable via USB-C PD, lasts 1.2-10 hours depending on brightness settings
Size: 7.6 x 2.5 x 15.2 cm

VC-Lite: Key Features

The VC-Lite is a small light designed to stick to the back of a laptop or monitor using its included suction cup mount, and as the light is battery powered it doesn’t need any additional cables to function. The VC-Lite is capable of outputting at a bright 1080 Lux at 0.55m or around 1.8’, which is around the distance most people will sit from their laptop or desktop at work. 

The brightness is variable, and is able to adjust from 0-100% in five percent increments to get the perfect balance of lighting for your setup. The light is made up from 60 bicolor LEDs which also enables the color temperature of the light to be changed between 3,200K and 5,600K so you can match the light temperature to your surroundings and time of day. The VC-Lite has a built in diffusion panel for softer and less direct light.

The built in battery can keep the light going for 1.2 hours on 100% brightness or up to 10 hours at 5% brightness. When it's empty, the light can be recharged using the USB-C PD port, which can also power and recharge the light while in use.

VC-Lite: Build & Handling

The VC-Lite is a cute little light, small and light enough to slip easily into a bag or pocket and take on the go. The light is solidly built, made from sturdy plastic, I think it has a nice minimal design that doesn’t feel or look cheap. The light has a simple control scheme with just two buttons on the side, one for power and switching between brightness/color control, one from controlling those settings. A long press on the power button turns the light on and off and a quick press switches between settings. The settings dial is a rocker switch that can be pressed once for fine control or held in to change brightness or color more speedily.

The mount that comes with the VC-Lite is decent, but is a little fiddly to use with small screws and clips, which when you are trying to manoeuvre the light behind a screen without full visibility is tricky. The suction cup also has a few issues. Firstly, the cup is sticky, which picks up a lot of lint and stray hairs from around my desk when not in use, which it won’t be much of the time, as the nature of the product is to slap it on only for video calls. The other issue is the suction cup failed a few times halfway through a long call when VC-Lite and its mount dropped off the back of my monitor. I have only tested the light for a week, but I would be hesitant with how well the suction cup will hold up over the long term.

VC-Lite: Performance

The performance of the light is great, the amount of light that it produces for such a small form factor is very impressive. It is also very beneficial to be able to control the temperature of the light to the time of day, which improves my eye strain when I am working late, plus I just prefer a warmer light, so it is nice to have the option.

The diffuser does a good job of making the light softer, but it can’t work miracles. The light is still direct, which means that there is some minimal shadowing on your face depending on the positioning of the light and your webcam might struggle to balance the contrast depending on what hardware you are using. As a side note, I have a white wall directly behind my desk and I found I got nice results from pointing the light backwards and reflecting the light off the wall.

The battery in the light holds up well, with the light mounted on my monitor about half a metre in front of me, I used the light at around 50% most of the time, which was consistently giving me around 2 hours between charges, which for me is plenty, although if you spend all day in video calls you can also just leave it plugged into a USB-C adapter for constant power.

VC-Lite: Verdict

If you spend a lot of time in video calls but only have bad lighting with limited space to improve it,, or you spend a lot of time on the move and want to guarantee you can be seen properly then the Lume Cube VC-Lite is what you are looking for. An incredibly easy way to instantly improve the quality of your video calls, it’s pocketably small, and thanks to its sticky suction cup, can be set up on a laptop or monitor in seconds, although there are some question marks about the longevity of the suction pad. 

The VC-Lite has adjustable brightness, and can get very bright if needed, although peak brightness can cause some shadowing on your face, but the VC-Lite has a good built in diffusion cover that does its best to minimize this. The light also has a variable color temperature which makes it possible to match the light color to your surroundings, and save your eyes from strain at night. Overall, for a cheap and simple way to make a big improvement to your video calls then the Lume Cube VC-Lite is a good option.

Read More: find out more about the best lighting for video calls in our guide. If you are looking to make vlogs then you can also find out more in our guides to the best lighting for YouTube.

One popular topic for channels on YouTube is unboxing videos. Here people enjoy showing off a shiny new product by removing it from its box and then forensically exploring all of its features in minute detail. If you use available light in an unboxing video then your products can look washed out and flat (and therefore unprofessional). 

To achieve this, you'll need the best lights for YouTube. The SmallRig RM01 mini LED Video Light Kit consists of three mini LED lights that you can use to add more professional-looking three-point lighting to your products. In a three-point lighting set-up, a key light acts as the dominant light source. A fill light can be used to fill in the harsh shadows caused by the key light. A backlight helps add a rim of light around the edges of the object so that out stands out from the background. Three-point lighting helps accentuate the shape and form of your subject by adding ‘modeling’ light to it. 

Specifications

CRI: 95+
TLCI: 96
Output: 1000Lux @0.3m
Colour temperature: 5600K +/-200K
Power: 3W
Run time: 60 mins
Features: Four levels of brightness adjustment, Cold shoe head, Rain and dust proof
Weight: 63g
Dimensions:  36mm x 38mm x 38mm

Key Features

Each of the three LEDs in the RM01 kit are COB (Chip on board) lights. Their closely packed LED chips create a bright and constant light source which is perfect for illuminating subjects in your video shoots.  The lights have a high CRI (Colour Rendering Index) of 95+, which enables them to reproduce accurate colors. They also have a high Television Lighting Consistency Index (TLCI) of 96, so you shouldn’t need to do any post-production color correction. 

Because COB lights can’t change their color output like standard SMD (Surface Mounted Divide) LEDs, SmallRig includes a collection of colored gels in the RM01 kit. Simply pop a red or green gel into a mount and then clip it onto the front of the lamp to create a colored light source.

The clip-on mount also contains four mini-magnets which enable you to attach other supplied accessories to a light, such as Barn Doors. You can adjust the Barn Doors to create a wider to narrower beam of light.

Other accessories in the kit include cone-shaped snoots (or blasters) that magnetically attach the front of the LEDs and create a narrower spotlight effect. There are also honeycomb accessories for each lamp that create a more focused and softer light source. You can also pop a white silicone diffuser over each LED to create a softer light source with less harsh shadows.

You can also modify the intensity of the light produced by each LED by tapping a button. There are four levels of intensity. Each light also comes with a mini tripod that can be extended to a height of 17cm. 

Build & Handling

At approximately $100 for three lights and a bundle of accessories, this is a budget lighting kit, so you’d expect it the lights to be made of plastic (as indeed they are). Each LED in the SmallRig kit is a similar size to the JOBY Beamo, but that lamp costs considerably more due to the metal components in its body. As LED lights don’t get as hot as conventional lamps the SmallRig RM01’s rugged matte plastic build doesn’t affect its performance. The RM01 lights can also be purchased individually.

The majority of the accessories in the kit are plastic too, but this makes them light enough to mount magnetically on the front of each lamp. In fact, you can mount both a honeycomb fame and bar doors to a light at the same time.  As the battery is built into each LED you can plug in a USB cable and leave it to charge (with no fiddly battery replacement required.)

Performance

The three mini-tripods that ship with the RM01 kit enable you to position the lights around your product to produce professional three-point lighting that ‘models’ the subject.  You can just the height of each tripod (between a range of 7.5 cm and 13 cm.) The tripods have adjustable ball heads so you can change the angle of each LED in the your point lighting set-up.  With the four-leaf barn doors attached to each stand-mounted LED your desktop will look like a mini Hollywood studio. 

We lit some sci-fi action figures with a range of coloured gels using a classic key, fill and backlight set-up and were impressed with the modelling and atmosphere that our three-point lighting set-up produced.  Check out this review’s supporting video to see our creative lighting set-up in action.

We also found the RM01 lights were also very useful when talking via our PC’s webcam. Normally that light from our computer’s screen creates a bland and flat-looking face with washed-out colors. By placing the RM01 LEDs strategically around our desktop we were able to create a brighter and more three-dimensional-looking face. The lights also look interesting when they are visible in the frame so they can ‘star’ in your Zoom call as well as produce a more flattering appearance.  

Each LED in the RM01 kit has a cold shoe head adaptor so you can take them out of the office to illuminate your location footage. You can use the cold shoe head to attach the LED to your camera or mount it on a taller tripod. This portability enables you to cast more light in a host of subjects.

Verdict

One of my hobbies is toy photography (check out @scifitoyphoto), so I’ve been using a wide range of LED lights to illuminate my plastic subjects. What I love about the RM01 LED kit is the fact that I can use it as a mini three-point lighting set-up and illuminate my toys as I would with real actors. Thanks to the magnetic accessories I can quickly change gels to change the mood of my shots or add a diffuser to reduce the presence of harsh shadows. When it comes to my home studio I think the RM01 kit is going to be a permanent addition to my desk (plus it also helps me look better via webcam!).

Read more: find out more about the best photography lighting kits in our guide.

Star Wars Day might have been and gone, but nothing screams Jedi more than these powerful new Tube Lights from LumeCube, intended for photographers, filmmakers, and content creators to enhance their setup with app control over the RBG spectrums, temperature, tint adjustments, and luminance of these lights. 

Ever wanted to light paint with a lightsaber? Well now - you pretty much can. There's no need to purchase an expensive custom elite lightsaber from Saberforge when LumeCube is offering the complete package with its new Tube Light series for creators. Sure, it might not make the vmmuvvm sound when you swoosh it around, but the powerful light produced by these tubes makes them ideal for stills and video. 

• See our picks of the best LED light sticks and light wands for photographers. 

The brand new Tube Lights from LumeCube are available now and come in two models, there's the standard 12-inch (1ft) Tube Light Mini which retails for around $169.99 (£135 / AU$252), and the much longer 48-inch (4ft!) Tube Light XL, which is available for $399.99 (£316 / AU$593 approximately) directly from LumeCube. 

Both of these tube lights boast a CRI rating of 96+, seven pre-programmed special lighting effects (through the app only), a variable color temperature menu (between 2700K - 7500K), are capable of the full RGB spectrum, provide Green/Magenta tint control, are fully Bluetooth compatible, and offer 16 million (yes, really) color options for you to get creative with.  

The Tube Lights are also weatherproof and durable, able to withstand an array of shooting conditions thanks to the premium aluminum body design. The Tube Light XL is capable of performing at 100% brightness for over four and a half hours on the internal battery alone, and can be charged while in use.

The best part about these tube lights? They double as power banks! So in between shoots, you can even charge your phone or camera batteries to keep your gear in top performance through the built-in USB-C port. The Tube XL also has a separate A/C power port for charging while in use. 

And if you don't like the idea of (Han) solo lighting for your setup, you can purchase the Tube lights in a paired bundle for a discounted price. If money is a little tight, LumeCube also offers a fantastic certified refurbished section on its website allowing you to purchase preloved gear at a great price. 

“We are constantly inspired by our community of creators and innovators,” shared Lume Cube CEO and co-founder, Riley Stricklin. “We know the right light changes everything, and the Tube Light Mini and Tube Light XL are going to be a game changer for so many. We are so excited to see what our community creates using these powerful lights.”

Included with these Tube Lights from LumeCube are aluminum tripods, and travel cases - making them super portable for taking to and from the studio or location shoots. They're also shock and drop-resistant and built with rotating magnetic end caps to allow for flexible mounting options wherever you choose to install them. 

As previously mentioned, these lights can be remotely controlled via bluetooth through the Lume Control smartphone app, as well as the on-tube buttons and menu screens as demonstrated in the video above. The app also boasts seven pre-programmed special effects that can be used with the Tube Light, including 10-Speed Settings: Loop, strobe, lightning, fire, candle, siren, and TV flicker. 

LumeCube is also launching a new “Photo Eyedropper Tool” whereby creators can match their Tube Lights to any color or environment using the eyedropper. The updated Lume Cube app also pairs with all current Lume Cube lights, and enables creators to build their own creative ecosystems and customizations.

• You might also be interested in the best-LED light panels for photographers, as well as the best video lights and the best ring lights for content creators and avid Tik-Tokers. 

Zhiyun has gained a reputation as one of the top brands for best camera gimbals and best phone gimbals, but they have also expanded their video range to include a variety of LED lights. Among them is the new Zhiyun MOLUS G60, which utilizes COB (chip-on-board) technology to provide a powerful 60W constant light in a Rubix Cube-sized chassis.

Read More: Find out how to improve your lighting with our guides to the best video lights and the best LED light panels.

COB lights feature multiple LED chips mounted closely together on a single circuit board, creating a highly efficient and uniform light source. This design allows for improved brightness and color accuracy compared to traditional LED lights, while also remaining lightweight and compact.

With so many video lighting options available, how does the Zhiyun MOLUS G60 stack up?

Specifications

Output Power: 60W
Cooling Method: DynaVort Active Cooling
Color Temperature: 2700K~6500K
Brightness Adjustment Range: 0~100%
CRI: ≥96
TLCI: ≥97
Illuminance In 6500K/100% Brightness (1 meter): 2,376 lux (11,194 lux with reflector)
Power Supply Method: USB-C PD, AC power adapter
Power Adapter Operation Voltage: 100V~240V
PD Input Power: ≥18W
Extension: 1/4 General Threaded Hole
Size (WxDxH): 90.6 x 67 x 66.95 mm
Weight: 300g

Key Features

The Zhiyun MOLUS G60 features the same design language as other Zhiyun products, and is distinctly in the same design family as last year's FIVERAY M40, despite the MOLUS name change. The G60 might have fit better looks-wise in the FIVERAY family, but it doesn’t really fit in with its more professional-looking brother, the Zhiyun MOLUS X100, although it does share the same Zhiyun ZY mount for accessories. 

The MOLUS G60 is an impressively compact lighting unit that lives up to its name by delivering a whopping 60W of power. It has a color temperature range of 2700K-6500K, with a CRI (color rendering index) of ≥95 and a TLCI (television light consistency index) of ≥97. The light's brightness and color temperature can be conveniently adjusted using the ZY Vega app via Bluetooth or through manual control dials located on the rear of the device.

The new Zhiyun NY Vega companion app can wirelessly control both the G60 and other lights from Zhiyun. The app enables complete control over individual lights or selected groups of lighting with minimal effort.

There are two ways to power the MOLUS G60, either using the included DC adapter or by using the 100W PD USB-C power port. If connecting using the USB-C PD port, then the supply from the wall adapter will affect how bright the light can go, with a 100W wall adapter recommended for 100% brightness.

The MOLUS G60 utilizes Zhiyun's DynaVort cooling system which has been used to great effect in its previous lights. DynaVort uses a gyroscope-modeled heat sink and a FOC fan to prevent overheating, based on a fluid dynamics and attitude control algorithm, the technology significantly increases cooling efficiency by more smartly controlling airflow through the light. As a result, the lights provide a consistent source of illumination without any flickering or cool-down periods.

Build & Handling

The build quality is good if a little plastic-y, it doesn’t feel cheap or breakable, however, it doesn't quite have the same premium feeling as the MOLUS X100. The dials for the brightness and color temperature are on the rear of the body and have a nice click as you turn them, you can also press them in to cycle between three quick settings. This fast cycling is fairly essential, as the G60 does require you to turn the dials far more than feels necessary. The dials also have a slightly different shape from one another, which both adds to the playful design but also allows you to turn each dial by feel alone.

The overall design might be divisive, I personally think the design is fun and quite enjoyable, but it might stick out as not being serious in a professional setting. Although with these lights aimed at content creators more than high-end studios that shouldn’t be much of a problem.

The MOLUS G60 has a connected arm at the base which can be positioned at different angles, this is a really quick and simple setup and works really well for small setups like using the light for product photography or vlogging. The arm has a 1/4-inch screw hole so it can be attached to Zhiyun's included mini tripod or a larger light stand.

The light is so incredibly compact, it fits in the palm of my hand. This is a blessing and a curse, when using the Bowens mount adapter and even medium softboxes, the light is not heavy enough to balance the weight and the stands tipped forwards. If you want to use larger lighting adapters then forget about it without properly weighting your light stand.

It is also slightly frustrating that the G60 does not contain a battery or comes with an optional external battery like the MOLUS X100. The G60 just seems like it was destined to be run wire-free, so having trailing wires traipsing from the light and across the floor is more of a hindrance than it could have been. You can run the light from a PD power bank, but powerful enough power banks are not in abundance, with only one or two trustworthy ones available at time of writing.

On the subject of USB-C PD, powering the G60 with USB-C is one of the most exciting prospects, however, a big caveat is that a 100W PD USB-C wall adapter is very hard to find, with a couple of chargers (including my 97W MacBook charger) not working at all. The X100 can be used at a lower max brightness with less power. I managed to achieve a 60% brightness using a 65W GaN wall charger, but PD might be more exciting as more powerful power adapters become available.

The DynaVort fan in the G60 is phenomenal, it does an exceptional job at dissipating most of the heat, although it still requires a few minutes after being turned off before I would recommend returning it to its case. The fans are whisper quiet, I could barely hear them except for in a totally silent room, and even then I had to get really up close.

The G60 offers a range of high-quality optional accessories, including larger diffused reflectors, mini softboxes, and Bowens mount adapters. These accessories can be purchased separately or as part of kit bundles. The light comes with a small reflector as standard.

The accessories use Zhiyun's ZY mount, which features a simple and secure lock and release system. However, it can be a bit tricky to line up the accessory correctly when attaching it, resulting in some awkward fumbling while trying to click it into place. It would be helpful to have a more obvious starting arrow to ensure proper alignment.

Performance

The MOLUS G60's 60W power output is truly impressive given its compact size, and is more than sufficient for most content creation scenarios within close to mid-range distances. However, in my small studio setup, full brightness was actually a little overpowering.

When used with just the reflector, the light is quite directional, which may not be flattering depending on the intended use. I observed harsh shadowing on product shots and on my model. However, the optional softbox and other light shaping tools available for purchase alongside the G60 provided enough diffusion to soften the light to a pleasing level. The optional Bowens mount adapter with an umbrella hole allows for using existing light modifiers.

The G60 offers a color temperature range of 2700K to 6500K, providing natural-looking light throughout the day. The color accuracy appears consistent, with a ≥95 CRI rating and no discernible hues on my test footage.

The new Zhiyun ZY Vega app is user-friendly, though somewhat basic. I tested the app on Android, and the G60 connected via Bluetooth instantly, allowing me to update the firmware wirelessly and control the lighting effortlessly using the brightness slider. The app enables grouping lights or controlling them individually.

While it is disappointing that the G60 does not offer RGB colors or lighting effects, it is possible to use gels to achieve additional colors. However, this is not as accurate or consistent as using colored LEDs. The absence of lighting effects is surprising, given that most LED lights offer modes for lightning, watching TV, and more. Zhiyun's FIVERAY F100 light stick offers a range of color options and lighting effects, making it a surprising omission from the G60. Hopefully, this can be added via a future update.

Verdict

The Zhiyun MOLUS G60 is probably one of the best options for any content creators who move around a lot, who don’t have a lot of space, or just need a simple but incredibly functional lighting source. The 60W power is bright enough for most close to mid-distance situations such as talking to camera or a studio shoot, and the DynaVolt fan does a great job at keeping it cool. Neat features like PD USB-C, as well as a dedicated power supply offer improved versatility. The accessory system is well thought out, with great quality accessories from Zhiyun as well as a Bowens mount adapter. 

There are some small disappointments like the lack of an optional dedicated battery pack, or lighting effects or colors, but these are easily looked past when you are reminded of how much power Zhiyun managed to squeeze into this Rubix Cube size box. 

Read More: Find out how to improve your lighting with our guides to the best video lights and the best LED light panels.

Zhiyun has become one of the go-to brands for the best camera gimbals and best phone gimbals. Recently Zhiyun has expanded its video range to include a range of LED lights, from the pocketable yet powerful Fiveray M40, to light sticks such as the Fiveray F100. 

Zhiyun has expanded its video lighting range to include two new models of COB (chip-on-board) – the most powerful being the new Zhiyun MOLUS X100.

An LED COB video light consists of multiple LED chips mounted closely together on a single circuit board to create a powerful, uniform light source. The COB design allows for a higher level of brightness and color accuracy compared to traditional LED lights. These lights are also typically lightweight, compact, and energy-efficient, making them a popular choice for portable and studio setups.

Read More: Find out more about the best lighting for your videos in our guide to the best video lights or our guide to the best LED light panels.

With a lot of options for the best video lights, how does the Zhiyun MOLUS X100 compare?

Specifications

X100

Output Power: 100W
Cooling Method: DynaVort Active Cooling
Color Temperature: 2700K~6500K
Brightness Adjustment Range: 0~100%
CRI: ≥95
TLCI: ≥97
Illuminance In 4300K/100% Brightness (1 meter): 3881 Lux
Power Supply Method: PD adapter, power adapter, grip battery
Power Adapter Operation Voltage: 100V~240V
PD Input Power: ≥18W
Extension: 1/4 General Threaded Hole
Size (WxDxH): 144.5 x 94 x 36.1 mm
Weight: 385g

Battery Grip (optional)

Capacity: 2600mAh
PD Charging Time: 2H33MIN
Runtime (maximum power): 30min
Size: 52.8 x 94 x 61 mm

Key Features

The Zhiyun MOLUS X100 is a larger and flatter design than its little brother the G60, although still manages to remain highly portable, weighing in at only 385g. As the name suggests the Molus X100 manages to deliver a massive 100W of lighting power from its compact form factor.

The X100 operates at a color temperature range between 2700K-6500K, with a color rendering index (CRI) of ≥95 and a Television Light Consistency Index (TLCI) of ≥97. The light's brightness and color temperature can be easily adjusted using Bluetooth on the connected ZY Vega app or using on-device manual control dials located on the side of the light. 

The new Zhiyun NY Vega companion app can wirelessly control both the X100 and other lights from Zhiyun. The app enables complete control over individual lights or selected groups of lighting with minimal effort. The X100, using the ZY app, also offers a music mode that will sync the light to changing music or sound effects for wider creative filmmaking opportunities.

There are three ways to power the Molus X100, either using the included DC adapter, using the 100W PD USB-C power port, or attaching the optional battery grip available as a bundle or a standalone purchase. 

Both new lights feature Zhiyun's DynaVort cooling system which has been used in its previous lights and was well received by our reviewers. DynaVort uses a gyroscope-modeled heat sink and a FOC fan to prevent overheating, based on a fluid dynamics and attitude control algorithm, the technology significantly increases cooling efficiency by more smartly controlling airflow through the light. This creates a consistent light source with no flickering or cool-down periods.

Build & Handling

Let's start with aesthetics, I personally think that the X100 looks awesome, looks are subjective, and although I am sure it is not to everyone’s tastes, I think it looks very modern and cool, if you turned up to a shoot with this light, then people would be impressed. Some may enjoy the more traditional tube or box style or round dishes like a Rotolight, but these MOLUS lights from Zhiyun stand out from the crowd.

The build quality is top-notch, it feels and looks very premium, with a mix of metal parts covered with a translucent plastic shell reminiscent of a 90s GameBoy. The dials for the brightness and color temperature are on the side of the body and feel solid, with a nice click to them as you turn them, they also click in to cycle between three quick settings. This fast cycling is fairly essential, as the X100 does require you to turn the dials far more than necessary to change settings manually.

The light is incredibly compact when run from mains power, and weighs only 385g, so can easily be carried around on a boom arm for long periods. It also just feels less ‘in the way’ when on set, I didn’t find it as much of an obstacle as other lights, and it can easily just be moved from place to place. The light can also fit into tighter spaces with its small flat design, although that does restrict air circulation and increases the heat, so be careful. 

When the optional battery is added it does add some considerable size and weight, but it is still plenty portable. The battery doubles as a decent grip for moving the light around, as without the battery there is not much to hold on to without getting your fingers too close to hot parts of the light. 

One of the best things about the X100 is its ability to be powered by a 100W USB-C PD cable, however, a big caveat is that 100W PD USB-C is nearly impossible to find. On Amazon at the time of writing, there is only a couple of reputable GaN plugs that can provide a 100W or more from one port (with many rated for 100W or more splitting their power over several ports). The X100 can be used at a lower max brightness with less power, however, this was a bit hit and miss, with my MacBook charger unable to power the X100, but I had more luck with a GaN wall charger rated 65W that managed to get 60% brightness. 100W PD USB-C may be more useful going into the future than it is today.

The X100 can get quite hot during use, the DynaVort fan does a good job at dissipating a lot of the heat, but with 100W of power in a small form factor, there is only so much that can be done, so use it with some caution. The light cools down quite quickly after it is turned off, but you will still have to leave it for some time before it is safe to return it to its case. The X100 is not an exception, with most LED lights getting warm, but larger lights have more space to expel their excess heat, so tend to cool quicker than this little Zhiyun.

The optional accessories for the X100 are really great quality, the light comes with a small reflector as standard, however, there are also larger diffused reflectors, mini softboxes as well as Bowens mount adapters available in kit bundles or separate purchases. The accessories use Zhiyun’s own ZY mount, which is simple to use and has a secure lock and release system, however, it is not obvious where to line up the accessory when attaching it, which leads to a bit of awkward fumbling while you attempt to click it in place, a much more obvious starting arrow would be appreciated.

Performance

The 100W power offers a total of 3881 Lux without the included reflector, and 17317 Lux with the Zhiyun Mini Reflector, which is impressive for a device of its size. This level of power will easily be enough for most content creation situations in close to mid-sized distances. In my small studio setup where I tested the light, the power at full brightness was simply too much.

The light with just the reflector is also very direct, which depending on what you are using it for can be unflattering. When testing on product shots and on my model, it created a quite harsh shadowing. I was provided with the optional softbox and other light shaping tools that can be bought alongside the X100, and the softbox (my usual go-to modifier) provided enough diffusion to soften the light to a pleasing level. There is also an optional Bowens mount adapter, with an umbrella hole, for using existing light modifiers.

The color temperature ranges from 2700K to 6500K, which is enough to portray natural light at all hours of the day. The color accuracy seems to be spot on, the light is rated at a ≥95 CRI, and I couldn’t notice any discernible hues on my footage. 

The new Zhiyun ZY Vega app is very good, although slightly bare-bones. I tested the app on Android and I was very easily able to set up the X100 on the app in just a few simple taps, the light connected via Bluetooth instantly, and I was quickly able to update the firmware wirelessly. Controlling lighting is simple with the option to group lights together or control each individually using a brightness slider.

The light also has a music mode that has limited success, the light should flash in time to music, and it did almost flash on beat, but not to the point where I would actually use it. It would also be great if it pulsed and dimmed as well as flashing to give a bit more variety and usefulness. I also had to turn my music quite loud to get it to work, so apologies to my neighbors.

It is a shame that the X100 does not offer any RGB colors, the light can of course use gels to offer additional colors, but this is not as accurate or consistent as using colored LEDs. It is also unfortunate that the X100 doesn’t have any lighting effects, beyond the music mode, with most LED lights offering modes for lightning, watching TV, and more. Zhiyun offers a range of color options and lighting effects in its FIVERAY F100 light stick, so I am surprised they didn’t offer it here. 

Verdict

The X100 is a revelation for content creators who move around a lot, this light is super compact and portable and can be set up almost anywhere in a flash (no pun intended). The 100W power is bright enough for most close to mid-distance situations such as talking to camera or a studio shoot, although it is a shame there are no lighting effects for a content creator aimed light. The light can get also quite warm, so you occasionally need to think a little about where you will place it, but the DynaVolt fan does a great job at keeping it cool. Cool features like PD USB-C, as well as a dedicated power supply offer improved versatility. If you choose to get the optional battery pack, then this makes it even easier to get great lighting on the go. The accessory system is well thought out, with great quality accessories from Zhiyun as well as a Bowens mount adapter. The Zhiyun MOLUS X100 is one of the most exciting new entries to video lighting.

As a video professional since the early 90s, I’ve used classic lighting kits such as Arri ‘Redheads’ to provide classic three-point lighting setups for interviews. These lights used conventional bulbs (or lamps) that would occasionally blow and spoil a take (which is why they featured a protective mesh to stop shards of glass spraying the set). Modern LED (Light Emitting Diode) lights such as the SmallRig RC 350D COB LED Video Light don’t need to have bulbs replaced, making them safer and more reliable than traditional video lighting kits.

I’ve tested and reviewed several LED lights for Digital Camera World, from the tiny JOBY Beamo that’s a perfect lighting accessory for smartphone content creators on the go to the more expensive ZHIYUN Fiveray F100 light stick that boasts a range of useful special effect presets. The SmallRig RC 350D COB LED Video Light blows all of these LEDs out of the water in relation to its power, performance, and budget-blowing price tag.

This LED is aimed squarely at professional video makers who need to have a powerful key light to illuminate interviewees or add special lighting effects to complement the performance of actors. The RC 350D that we tested is part of a new wave of SmallRig COB video lights – the RC 450B, RC 450D, and the RC 350B (more on this comparable model later).

SmallRig RC 350D specifications

Brightness: Up to 149,000 Lux
Weight: 7.87 KG
Colour temperature: 5600K (+ or - 200K)
TLCI Index: ≥97
CRI Index: ≥96
Power: 100~240V AC voltage input

SmallRig RC 350D features

The SmallRig RC 350D is designed to give professional video makers optimum performance thanks to double-sided, six-layer coated front glass that has a transmittance of more than 97% in the visible wavelength range, ensuring lossless light flux. The 350D boasts a maximum illuminance of an eye-searing 149,000 Lux (far exceeding the output of portable battery-powered lights, such as the ZHIYUN F100’s 20,708 Lux output.) 

Read more: Best video lights

Indeed during my test shoot in a TV studio, I didn’t need to increase the light’s output beyond 43% as this caused my subject’s highlights to become over-exposed (see our supporting video). This powerful performance puts the 350D in the heavyweight category compared to the featherweight output of other LEDs that I’ve reviewed previously on this site. 

Another key feature that shows the light is aimed at professionals is its ability to faithfully reproduce accurate colors from illuminated subjects thanks to high scores of  +97 on the TV Lighting Consistency Index (TLCI ) and +96 on the Color Rendering Index (CRI) (though to be fair the far cheaper ZHIYUN F100 also boasts these color rendition scores!).  

On the downside, the 350D has a fixed daylight color temperature of 5600 degrees Kelvin. You’ll need an alternative (but more expensive) model such as the bi-color RC 450B if you need to adjust color temperature between a range of 2700K - 6500K.

When recording drama or interviews the professional filmmaker needs complete silence on the set. The 350D boasts quiet cooling fans with an intelligent temperature control algorithm that improves heat dissipation and produces a mere 28dB sound within 1 meter of the light, so there’s no danger of whirring fans spoiling a take.  Another key feature is the 9 special effect lighting presets that you can trigger with a press of the FX button. More on these in the Performance section…

SmallRig RC 350D build & handling

The RC 350D COB LED Video Light has an eye-catching futuristic look thanks to the streamlined aerodynamic shape of its black and grey curves. It’s constructed on a mix of metal and non-inflammable material.  It ships with a useful carry case that contains all the components you’ll need including an attachable reflector that channels the LED’s output into a beam of light wide enough to illuminate a typical ‘talking head’ subject. 

The fully laden case weighs in at a manageable 7.9 KG (though I did appreciate being able to park close to the studio where I tested the LED as I also had to carry a sturdy lighting stand and a camera bag). To save storage space in the carry case the adjustable head that attaches the lamp to the lighting stand is detachable (rather than being a permanent part of the light body). 

This head has a hinge that enables you to adjust the angle of the light (though 220 degrees). The head’s hinge feels very stiff and you really have to push hard to make the light tilt.  This secure damping system is a deliberate feature as the resistance of the hinge is designed to make the light stay in place. This will re-assure lighting professionals who may have suffered loss or damage in the past due to a light tilting or flopping on its stand during a shoot. There is also a locking mechanism on the hinge to make sure the light stays angled correctly which is the type of belt and braces approach to kit safety that a professional will welcome. 

SmallRig RC 350D performance

The light is controlled by a simple LCD panel on the rear. There are two key buttons to tinker with. INT controls the intensity of the light’s output and FRQ controls the frequency of special effects (such as the burst speed of Paparazzi flash guns or the pulsing glow of the Breath preset effect). An FX button lets you toggle through the 9 preset special lighting effects. 

Presets such as TV bathe the actor in the flickering light from an offscreen dial and there’s the obligatory lighting FX preset that you’ll also find on the ZHIYUN F100 and the Nanlite PavoTube T8-7X. Unlike the two cheaper LEDs I’ve just mentioned the SmallRig RC 350D COB LED can’t change the colors that it emits, so that does limit the effectiveness of its effects. 

We also tested the SmallRig COB LED Video Light Control Panel which is an accessory that you need to purchase separately. This contains an identical LCD control panel to the one on the rear of the 350D and with INT and FRQ buttons. It also costs an extra CCT button which enables you to tweak color temperature on compatible SmallRig LEDS such as the RC 450B. The 350D that we tested has a fixed daylight color temperature of 5600K which made the CCT button redundant.  The Control Panel ships with a clamp that you can attach to the lighting stand. 

The clamp has an adjustable magnetic head so you can attach and angle the control panel to suit your needs. The panel also has a 3-meter cable so you can operate the 350D from a distance if desired. In theory, you can also control the 350D via the SmallGoGo app but we failed to get our smartphone to connect to the lamp despite multiple attempts (and by using different smartphones).

SmallRig RC 350D verdict

The beautifully designed SmallRig RC 350D LED kicks out more light than anything we’ve reviewed before and yet still operates quietly thanks to its dual fan cooling system. The high price aims it squarely at the video professional who needs accurate colour reproduction, though its fixed daylight colour temperature of 5600K might lead one to look at the 450B instead (though that will cost you $300/£250 more).  

Subtle features such as a locking mechanism on the power plug and the detachable cushioning stand adaptor give the 350D an attention to detail (and safety) that professionals will welcome. Its special effect presets will be useful for daring content producers, though they lack the colour changes produced by far cheaper LEDs. 

Discover more photography lighting kits and the best LED light panels. 

The video light market is a very crowded area with a lot of tough competition, from a wide range of brands, including some of our best video lights. Zhiyun has a lot of experience creating excellent gimbals, but the Fiveray M40 is the latest in a new venture into video lighting solutions from Zhiyun together with the Fiveray F100 light stick and the Zhiyun Fiveray FR100C Light Wand, which we gave a glowing review.

On specs alone, the M40 is primed to make an impact. It's a pocketable little video light that packs impressive 40W power, and at only 320g it manages to include 176 LED chips giving a peak brightness of 14,000 lux, which places it far ahead of much of the current competition in devices of this size and weight. At around $99/£99 it is very competitively priced.

Zhiyun Fiveray M40: Specifications

Max power: 40W
Color temperature: 2700K~6200K
Dim level: 0~100%
Max brightness: 14000lux (4300k, 0.3m)
CRI: ≥96
Charging time: 1hr50m
Runtime: 29 mins (100% brightness)
Size (WxDxH): 136.5x77.8x29mm
Weight: 320g

Zhiyun Fiveray M40: Key Features

The Fiveray M40 gets its name from the power this light can provide – a maximum power output of 40W that's considerably high for a light of this size. The light can be dimmed from 0-100%, and at 100% brightness, there is a peak output of 14000lux, with the small caveat that this must be at the color temperature 4300K.

Speaking of color temperature, this light can cover cool white to warm with a range of 2700K-6200K, giving you the freedom to change the atmosphere of a shoot.

The light should remain cool throughout use thanks to a built-in fan and heat sink. At 100% brightness, the battery will last around 29 minutes, and takes 1 hour and 50 minutes to recharge, but can be used while recharging, so you won't miss out on precious shooting time.

Zhiyun Fiveray M40: Build & Handling

First off, I love the design of the M40. It is bold and striking, with the orange dials and large font jumping out immediately. It just looks fresh and cool and is a light designed to be seen on social media. The design might be a little divisive though, and I feel for those preferring a more demure look, it might be a bit too stand out. 

Build quality is very good, it feels really solid but is a little weighty, but it does pack a lot of power for its size, so it is a trade-off to decide on. The exterior casing is made from a mix of sturdy-feeling plastics. I think you can comfortably throw this in a kit bag on the go without any worries, however, I am not confident it would stand up to a significant drop onto a hard surface and live to tell the tale.

The control dials at the bottom of the M40 allow you to independently control the brightness and color temperature and are really quick and easy to use, with no messing about with screens and buttons. Anyone could pick this up and use it intuitively in seconds. The bottom bracket has a ¼” tripod thread for mounting, swings open for variable angles, and cleverly hides the USB-C charging port.

Unfortunately, the dials are not without their issues. First off, the small white text, against the bright orange is not the easiest to read, especially in a hurry and from behind your thumbs. While testing the M40, I managed to change the dial settings accidentally a couple of times just by knocking them unknowingly. This can have a really disastrous effect on a long shoot when maintaining consistency across shots is imperative. It would be nice if the dials had click stops, or could be locked. 

Zhiyun Fiveray M40: Performance

For a light of its size, the M40 is hugely impressive. As a fill light, at 100% brightness it quickly filled up every small to medium-sized room I tested it in. On-camera, as a video light or interview light, max brightness might often be overkill, as looking into the M40 at high levels is quite frankly blinding, however at lower brightness this gave a nice even glow to faces and objects within around 0.3-2m (1-6ft) from the light.

Colour accuracy is very consistent and accurate throughout the range. This light does only venture from 2,700-6,200k, with no multicolor or effects options found in similar rival products, which is a bit of a disappointment for wider creative applications.

At 100% brightness, the fans kicked in at about 60 seconds, initially at a low speed, but this does increase to a second higher speed the longer the light is in use. The fans are quiet, however, they are audible in a silent environment, so you will have to bear in mind how close you can use this light to microphones during audio recording in some situations.

The fans, utilizing Zhiyun’s DynaVort technology, do an exceptional job at controlling the heat. After 30 minutes at max brightness, the panel and body were both cool to the touch, so this panel could be handheld for long periods of time if needed.

Zhiyun Fiveray M40: Verdict

This light has no right to be this powerful in such a compact chassis, all without overheating. With enough brightness for projects that previously would have required much larger or more significant lighting setups. The only major downside is a slightly touchy control system, and the inability for extra colors makes the uses more limiting. This easily pocketable video light will provide a lot of creative opportunities that were previously unthinkable. 

You might also like the best camera settings for video, the best video cameras and the best hybrid camera.

Great lighting doesn't have to be heavy or mounted to a stand. Chinese brand Zhiyun is proving this with the launch of its new Fiveray F100 portable stick light, and Fiveray M40 pocket fill light, both designed for power and portability.

These lighting devices are available now and feature the company's latest stay-cool technology to prevent overheating, known as the patented and disruptive DynaVort Cooling System™ from Zhiyun.

• These are the best LED light panels

As part of the upcoming Black Friday deals these lights are currently on offer for a limited time with up to 55% off, and next month for just two days from December 7th to 8th, Zhiyun will be having a buy one get one free special offer event on both of these lights, where you can save hundreds of dollars. The F100 stick light will cost around £249/$249/AU$371, and the M40 pocket light at £99/$99/AU$147. 

Zhiyun's so-called DynaVort Cooling System™ is a stay-cool technology inspired by a panel of expert physicists. The tech is said to work by raising the cooling efficiency with intelligent control, and its two-way cooling system is what prevents overheating.

The Fiveray F100 stick light is a new professional lighting stick, the second one to be introduced in the Fiveray product range (check out our Fiveray FR100C review). It's designed for one-handed use with total control and comfort to adjust settings while providing a simplified yet powerful color rendition. It certainly looks like a lightweight and versatile pro lighting stick to use on location.

The F100 stick can reach 20,708 lux at its peak 100W maximum power and has been embedded with 5 times the amount of LED chips than others in its range, offering an ultra-bright output and illuminance. 

The integration of its 100W high power and six creative lighting effects will make this light ideal for shooting in smaller spaces without the room for a larger setup, and still allow the user to achieve creative results.

Special features of the Fiveray F100 include a one-click operation of settings such as Hue and Saturation, as well as Intensity mode via the control dial, and the professional color rendition can be increased by 47% from 2700K to 6200K, with the RGB when put into CCT Mode. As for the build of the light, the frosted casing will create a diffused and warm ambiance when desired.

As for the Fiveray M40, this powerful pocket light can produce amazing results with its 40W maximum output and fast charging features. This ultra-bright light can reach 14000 lux and has algorithm-controlled cooling technology, as previously mentioned above. Weighing only 320g, this light is super pocket-sized and perfect for portable shooting when out and about or at a shoot on location.

176 LED chips offer great illuminance with incredible color rendition in warm and cool hues with bi-color adjustment. The pocket light is controlled by two dial wheels for accurate dimming and has 360° fill light potential when used with one of Zhiyun's gimbal stabilizers and rotational brackets. 

Zhiyun's CEO, Yilun Liao, has shared that "we are passionate about using breakthrough innovations -  whether it’s with our iconic gimbals or our new FIVERAY lighting devices - to simplify and reshape content creation. With several industry firsts under our belts including the M40’s DynaVort Cooling System™, our products offer full creative control and convenience for anyone wanting to experience and express their inner filmmaker.”

You may also be interested in our guides to the best photography lighting kits, and the best ring lights, as well as the best light stands and best light meters.

There’s almost nothing to the GoPro Light Mod. A simple accessory smaller than a matchbox, it’s designed to be used either as a standalone light or attached to GoPro’s Media Mod wraparound accessory. 

Essentially a solution for lighting-up scenes and valuable for vlogging, Light Mod is more versatile than it looks. If you have a GoPro, Light Mod could be the accessory for you. Here’s everything you need to know about this powerful yet compact LED light that works with a host of GoPro accessories.

Specifications

Compatible with: Hero11 Black, Hero10 Black, Hero9 Black, Hero8 Black 

Color temperature: 5,000K

Brightness levels: 4

Max. brightness  level: 200 lumens for up to 30 seconds

Waterproof: Yes (33ft/10m)

Battery: built-in

Battery life: Up to six hours

Key features

An LED light with four intensity modes, Light Mod attaches to HERO9 Black, HERO10 Black and HERO11 Black via the GoPro Media Mod accessory, or works as a handy standalone light for use with all kinds of GoPro mounts and accessories. 

It’s got 10 LEDs in two rows that project a white-ish light in 20 lumens (six hours), 60 lumens (two hours), 125 lumens (1 hour) or 200 lumens (30 seconds at a time). There’s also a flashing ‘strobe mode’ (seven hours), for which we can see no use whatsoever. 

Build & handling

Light Mod is a slight product. Weighing a paltry 25g, it measures 40x23x23mm – smaller than a matchbox. Also included is a small silicon cover for Light Mod (weighing 3g) that acts as a light diffuser. It scatters lightwaves, thus creating a softer, more even light. Also included in the box is a USB-C cable for recharging Light Mod. However, that USB-C slot is hidden under a small square flip-up cover, which despite being spring-loaded at the touch of a button does seem a little over-engineered. It’s also rather tricky to open, though there’s a reason for that; it’s waterproof down to 10m/33ft. 

Although there's not much to Light Mod, physically speaking, it's a very solid device that is going to be hard to damage (though at this small size both it and its diffuse cover will be easy to lose).

We like the fact that Light Mod comes with two choices of fixings. The default, built-in option is to attach Light Mod to one of the cold shoe mounts on top of GoPro’s Media Mod. However, in the box is also a small GoPro mount adapter, which fits over its cold shoe mount and makes it usable on all manner of GoPro-specific accessories, from a chest strap and head strap to handlebar and tripod adaptors. 

Performance

Light Mod is easy enough to use and provides a surprisingly high amount of light. In terms of color temperature, Light Mod does produce a distinctly white 5,700K, which will be too cool for some, though it can be warmed-up to 5,000K by using the diffuser cover.  

It's operated solely using the soft silicon standby button on its top. A long press activates Light Mod, with shorter presses toggling through its various intensities, though a double press is required for the top intensity. What is slightly annoying is that a long press is required to switch-off Light Mod; it would be more convenient if the light could be quickly paused rather than deactivated entirely if it’s being used intermittently. 

One thing we didn't like about Light Mod is the way it recharges. Attach a USB-C cable to the panel underneath the spring-loaded flap and there is no indication, via an LED light or otherwise, that Light Mod is, in fact, recharging. That niggle aside, Light Mod is all about convenience – particularly if being used with Media Mod – though at its core it’s also a high-performing LED light. 

GoPro Light Mod: Verdict

Despite being smaller than a matchbox, GoPro’s Light Mod is a well built and impressively effective accessory for vlogging. However, you’ll need to be an owner of GoPro’s Media Mod to make the most of its convenience.

See also:
GoPro Hero 11 Black review
GoPro Hero 10 Black review
GoPro Hero 10 vs 11 Black
GoPro Hero 9 vs 10 Black
Best GoPro accessories
GoPro Subscription - is it worth it?
Best action cameras
Best GoPro alternatives

If you want to look better on camera for your remote meetings and presentations, one of the best lights for Zoom calls could be a big help. One of the biggest weaknesses of laptop cameras and webcams is that they don’t handle poor light very well. Many people’s first instinct is to look for a new camera, but it can be much more cost-effective to upgrade the light instead! Any of the options on this list will do the job brilliantly.

I’ve picked out a selection of lights that have been tried and tested by our team, scoring points for their reliability, their even illumination, and their value for money. There are options at different price points, from ultra-cheap to premium quality, meaning you can match the light to your budget.

Many of the lights on this list are also designed to be simple to operate. There are plenty of options, and for more information, you can click the link at the bottom of each entry to read our full in-depth review. Alternatively, you can check out the best 4K webcams if you also want to upgrade the raw video quality of your calls.

Best lights for Zoom calls

Best value light for zoom calls

The RM120 stands out to me for a few reasons. Firstly, its construction really impressed me. Unlike many other lightweight and flimsy plastic LED panels, this one felt more substantial and sturdier due to its metal body. However, the build quality is not reflected in the price, with the panel being relatively affordable against some of the big-name brands like Lume Cube (see above).

The OLED display on the rear is also a very useful feature. This display makes it incredibly convenient to navigate through the various modes that this panel has to offer. Control is easy using the main dial at the side, and this dial also serves as a mode-changing button, for quickly jumping between the panel's white light and color hues.

A 1/4 threaded hole at the bottom of the panel allows for versatile mounting options, whether it's on a stand, tripod, or using the supplied cold shoe adapter to attach it above a DSLR or mirrorless camera for a professional zoom setup.

While this panel might be designed for content creators, positioned behind your monitor it is a simple, effective, and affordable way to add some additional lighting to your zoom setup.

Read our full SmallRig RM120 review for more details

Best miniature light for Zoom calls

Want a great light for Zoom calls but don't have a lot of desk or office space? The Harlowe Sol 5 Spectra should be high up on your consideration list – it's a tiny light designed for smartphone users, fitting on a mini tripod that could easily sit unobtrusively at the corner of your desk. It's a comparatively low-power light – a 5W LED, it puts out 220 lm, or the rough equivalent of 220 candles. That's not a lot for a professional video shoot, but it's plenty for a Zoom call.

With MagSafe compatibility, the Harlowe Sol 5 Spectra can be fixed to the back of your iPhone, and can be rotated to work with the front-facing cameras – useful if you take a lot of zoom calls on your phone and want a bit more illumination. Unlike many smartphone video accessories, it looks and feels like a premium product – it's constructed from proper aircraft-grade aluminium rather than cheap plastic.

We reviewed the Harlowe Sol 5 Spectra as part of the Creator Kit, which goes for $339 and includes a wide selection of accessories. Some of these, like the mini tripod, are very useful for lighting Zoom calls; others, like the magnetic lenses that produce stylised lighting effects, are not. I think it could prove more cost-effective to simply buy the light on its own for around $179 and figure out your own mounting solution – a MagSafe-compatible mini tripod could work well.

Read our full Harlowe Sol 5 Spectra Creator Kit review

Best money no object light for Zoom calls

The Rotolight NEO 3 is undeniably one of the most prestigious names in the realm of video lighting. While this lighting kit may come with a hefty price tag, its inclusion of the Rotolight NEO 3 is certainly a game-changer. This state-of-the-art lighting solution allows you to effortlessly set up professional-quality, soft, and flattering lighting for your video calls. The fully dimmable set of LEDs offers incredible flexibility, allowing you to white-balance from 3150K to 6500K, ensuring that your colors are accurately represented regardless of the lighting conditions.

It's important to note that for typical Zoom calls, this kit may seem like overkill – and truthfully, it might be. The NEO 3 boasts a full-color range in both constant modes, complete with an expansive array of electronic color filters and special effects, all accessible through a user-friendly color touchscreen menu. While the maximum flash output may not quite measure up to that of a traditional flashgun, it still serves as an excellent solution for those seeking to enhance both their stills and video capture with some additional illumination.

Despite its compact size, the NEO 3 shines as a powerful and incredibly versatile constant LED light, marking a significant improvement from its predecessor, the NEO 2. However, for savvy consumers, it's worth noting that the introduction of the NEO 3 has led to the NEO 2 being available at a more budget-friendly price point, making it an appealing option for those who are cost-conscious.

Read our full Rotolight NEO 3 review for more details

Best portable panel for zoom calls

The Lume Cube RGB Panel Pro 2.0 is truly a standout when it comes to portable LED lights. Whether you're using it for your regular Zoom calls or you need reliable lighting for photo or video tasks, this light has you covered. While it may not be as budget-friendly as some other options on the market, the durability and performance of Lume Cube products are top-notch, and the Panel Pro 2.0 is no exception.

One of the first things you'll notice about this light is its impressive brightness. The size of the panel allows it to emit a bright yet even beam of light, making it ideal for creating flattering lighting for your video calls.

In addition to producing standard white light, this panel offers an endless spectrum of colors, opening up a world of creative possibilities for your lighting setups. And with its built-in battery, it is a truly portable lighting solution that can go anywhere and when it's out of juice, can be hooked up to a power bank to keep on shining.

Read our full Lume Cube RGB Panel Pro 2.0 review for more details

Best cheap light for zoom calls

A small, affordable lighting kit designed for content creators, the Joby Beamo Studio Deluxe Lighting Kit could also be the ideal solution for your Zoom calls and video conferences. It makes it easy to set up a basic ‘two-point’ key and fill ‘modeling’ light, giving your face a more three-dimensional look. The diffuse key light also provides a flattering light that removes harsh shadows, smoothing wrinkles.

This might sound like overkill for Zoom calls, and it may be for some people – but hey, you're here looking for Zoom call lighting, so we have to assume you're more bothered than the average person about what you look like on a video conference. If you do a lot of professional presentations, particularly ones to external stakeholders, the Joby Beamo Studio Deluxe Lighting Kit is a brilliantly inexpensive way to make your home or office setup look more slick and professional.

In testing, we were impressed by the kit. It's easy to set up, and in terms of production value for the money you've spent, it's pretty unbeatable. One thing to bear in mind is that the kit doesn't have a built-in battery – it needs to be hooked up to a USB power source in order to work. This isn't too much of a problem when you're likely going to be using it on your desk anyway, but it's something to be aware of.

Also, if you want to further upgrade your setup – adding an additional light, say, or a microphone to improve audio – there are cold shoe slots that make it easy to do so.

Read our full Joby Beamo Studio Deluxe Lighting Kit review

Best for smart devices

The Godox Litemons LR30Bi is a remarkably clever and portable solution for smartphone creators who need high-quality light on the move. Weighing just 83g – about as much as a deck of cards – this pocket-sized ring light is a no-brainer for those who like to Zoom on the move from their phone. I found it exceptionally useful for filling in harsh shadows and adding a lively sparkle to the eyes, which really lifts the production values of video calls.

The design is impressively modular. It can be used as a 'shoot through' ring light, with a selfie mirror at the center to help you compose shots using your phone's superior rear cameras, or the mirror can be swapped out for the separately sold LR15Bi LED. Pairing the two almost doubles the light output from 48 to 77 Lux, providing a serious boost for dark locations. I also appreciated the simple two-button control for toggling through five color temperature presets (2800K to 6500K) and five brightness levels.

The spring clip is firm and keeps the light secure in either portrait or landscape orientation. While the plastic build feels lightweight, it's a small trade-off for such a versatile, budget-friendly tool.

Read our full Godox Litemons LR30Bi review

Best ring light for Zoom calls

Looking to ensure you always look your best in videos or virtual meetings? Content creators such as YouTubers, Twitch streamers, and TikTokers often rely on a ring light to achieve a consistent, flattering lighting setup.

The 12-inch model from Razer is a top choice for achieving this effect. The ring light offers exceptional light quality, softly diffusing to cast your face in the most attractive manner possible. The included tripod is not only sturdy and substantial but also provides the stability needed for your lighting setup.

Moreover, the wired remote feature allows you to effortlessly adjust the brightness and switch between three color temperatures with just one hand. This means that you can discreetly make adjustments during your Zoom calls or while streaming without drawing attention to yourself, allowing you to always put your best face forward.

Overall, this ring light is designed to be user-friendly, and well-crafted, and offers superior performance for its price, making it an excellent investment for anyone looking to elevate their content creation or video call experience.

Read our Razer Ring Light review for more details

Best premium ring light for Zoom calls

Considering stretching your budget for a top-of-the-line ring light? Enter the Lume Cube Wireless ring light – a powerhouse packed with premium features designed to elevate your lighting game. Compared to the Razer Ring Light, which holds the number one spot on our list, the Lume Cube Wireless ring light boasts a larger diameter of 18 inches, making it an ideal choice for those seeking a more substantial lighting setup.

The brightness of the Lume Cube Wireless ring light is remarkable, and its two included batteries offer an impressive run time of up to 1.5 hours at full brightness, ensuring that your lighting needs are met for extended periods. Alternatively, if you prefer a continuous power source, the option to run it off the mains is also available.

One standout feature of the Lume Cube Wireless ring light is its built-in 3200-5600K color temperature range, which allows for seamless adjustments to achieve the perfect lighting conditions for any situation. The high brightness levels also play a crucial role in minimizing shadows and reducing facial imperfections, ultimately resulting in a more flattering and professional look. The LED readout for settings further adds to the ease of use and versatility.

Additionally, the package includes a convenient carry case, a 6.5-foot stand, and versatile mounts suitable for iPhones, other smartphones, digital cameras, and action cameras weighing up to 10 lbs. It's worth noting that while the wireless ring light is plentifully available in the US and North America, it is harder to find in other territories.

In truth, the Lume Cube Wireless ring light may be considered overkill for casual Zoom calls. Indeed, we were even more impressed by the light's bigger cousin, the Lume Cube Ring Light Pro, but that really is much more than you'd need for Zoom calls. The capabilities of the standard cordless ring light truly shine, and it could be considered an investment for a wide range of lighting purposes.

Read our Lume Cube Wireless ring light review for more details

Best key and fill light for zoom calls

The Amaran Verge and Verge Max are flat-panel LEDs for home studio setups where space is at a premium, but are equally useful as a two-light key-and-fill setup for slick lighting of Zoom calls. They effectively provide the flattering, diffuse illumination of a much bulkier studio light and softbox combo, but in a sleek form factor just over an inch thick. I was particularly impressed by how simple they are to operate; two intuitive knobs allow you to twiddle through color temperatures (2,700K to 6,500K) and adjust intensity with ease.

The smaller Verge is fantastic value, offering 2,347 lumens, which I found more than powerful enough to act as a key light for vlogging and video calls. Its iPad-like design is sturdy, though it is surprisingly heavy at over 2 pounds. While the Verge Max is significantly larger and brighter at 6,455 lumens, I actually found it almost too powerful for a small office, rarely needing to push it past 50% to avoid hot spots on my face.

One minor drawback is that the base Verge model doesn’t ship with a stand, though its 1/4” thread makes it easy to mount on existing gear. If you need lighting with a professional studio look for your Zoom calls, these are an excellent choice.

Read our full Amaran Verge and Verge Max review

How to choose the best lights for Zoom calls

If you're looking for a light for your Zoom calls, it's fair to say that you don't need to spend too much. There are plenty of powerful video lights out there that we have tested and rated very highly, but for simply improving the look of a Zoom call, most of them are overkill.

A good light for a Zoom call just needs to provide a decent level of softened illumination – light that is powerful enough to be noticeable, but doesn't cast harsh and unflattering shadows. A good mounting solution is also highly desirable, as you're unlikely to want to set up a tripod every time you have a video call – as such, many lights for Zoom calls have suction cups that allow them to be attached to a laptop or other nearby surface.

Adjustable colour temperature may seem a bit excessive for many people, but it can actually be quite desirable, as it allows you to easily tweak the quality of the light to match that of the light that surrounds you – useful if you want the light to blend in naturally.

Finally, one other thing worth thinking about is power. While lights that run via the mains tend to be more powerful, for Zoom calls you will probably benefit more from a light that can run independently via batteries, or at the very least be powered via USB (and thus can be run off your desktop or laptop).

How we test lights for Zoom calls

At Digital Camera World, we test a huge variety of photo and video equipment, including cameras, lenses, and accessories such as LED panels.

Our process involves both real-world and lab testing – for LED panels, we measure brightness output and compare it to the manufacturer's claims to see how well the product stacks up.

We also look at portability, color temperature range, lighting modes, and other factors to assess how useful the LED panel will be to working photographers and videographers.

Learn more about how we test and review on Digital Camera World.

A video light is an essential purchase if you’re serious about improving your video content. Being able to control your own light is a genuine game-changer when it comes to shooting better video, and modern lights aren’t all expensive studio kits. There are lights on this list designed to work with phones or small cameras that are available for seriously budget-friendly prices, making great-looking video more accessible to everyone.

I’ve picked out a mix of the best video lights in this list, based on the DCW team’s reviews and testing. You’ll find inexpensive lights for social media, high-end lights that wouldn’t look out of place on professional film sets, and everything in between – meaning you should be able to find the right setup that works for you. After all, even if you’ve got one of the best cameras for video, your content is still going to look amateurish if it’s not adequately lit.

You can navigate to the bottom of this page to learn more about my criteria for picking lights for this list, as well as our testing procedure for video lights. In each entry, you can also click through to our full reviews to see the lights in action and get a complete sense of whether they’re going to be right for you.

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The best video light overall

The Rotolight Neo series has proved immensely popular as it essentially combines a video light with a hotshoe flash in one unit that can sit on top of your camera, whether you are a videographer or photographer.

The Rotolight NEO 3 Pro builds on the success of the preceding NEO 3, adding 25% more power, an in-built flash trigger compatibility, and more effects. It delivers a full range of color in both modes, with full RGBWW options, and comes in various kits, bundled with a selection of accessories that vary according to the configuration you choose.

Small but powerful and extremely versatile as a constant LED light, the Neo 3 Pro delivers a full color range in both constant and flash modes, with a huge range of electronic color filters and special effects, all available via a simple and intuitive color touchscreen menu. Maximum flash output is disappointing compared to a ‘proper’ flashgun; however, the NEO 3 Pro is a brilliant solution for anyone who needs to shed a little extra light on both stills and video capture.

Read our full Rotolight NEO 3 Pro review

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The best video light for travel

The X100 is a revelation for content creators who are constantly on the move. This light is super compact and portable, and can be set up almost anywhere instantly with its optional battery (available in the combo kit). The 100W power is bright enough for all close-to-medium-distance situations, such as to-camera or studio shoots. It is a shame there are no lighting effects for a content creator-aimed light, though. The light gets quite hot with extended use, but the DynaVolt fan does a great job at keeping it cool.

The light can be powered by USB-C PD, a dedicated power supply, or an optional battery pack, making it easy to get great lighting on the go. The accessory system is well thought out, with a range of good-quality accessories from Zhiyun, as well as a Bowens mount adapter.

Read our full Zhiyun Molus X100 review

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The best light wand for video

The Zhiyun Fiveray FR100C Light Wand is compact enough to carry in your kitbag, and, thanks to its 100W output, it will illuminate the darkest locations. Its rechargeable battery should keep it shining for the duration of your shoot, and the control dial enables you to adjust color temperatures to match the location’s available light, or you can dial in neon hues for a more creative look.

Its fans can get a little noisy, presumably to cope with that intense light in such a small package, which is something to be aware of for sound recording.

See our full Zhiyun Fiveray FR100C review

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Best value video light

This light offers some of the best value for money for videographers who need quick, simple, and portable illumination. Priced to compete with the likes of Zhiyun and Neewer, the Amaran 60d S is a daylight-balanced key light that's durably built and easy to use. It comes with a reflector dish, a diffuser, a light stand adapter, and spigot, and you have the option of using either the mains power supply or the battery adapter.

I wasn't hugely impressed with the supplied light-control accessories – you can buy a better reflector for a fairly trivial additional expense – but the light itself is excellent. Output is powerful, packing a lot of punch for its size, and while you may prefer bi-color output, it tends to come at the cost of power. For a simple, strong key light, the Amaran 60d S offers incredible value.

Read our full Amaran 60d S review

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The best video light for filmmakers

This powerful, hugely versatile yet lightweight portable LED lighting panel is an upgraded version of the AEOS 2, which in turn was a radical redesign compared with the original AEOS. Capable of delivering millions of colors, it also comes loaded with cinematic presets programmed by the likes of Roy Wagner (Nightmare on Elm Street, House M.D., Ray Donovan) and Stefan Lange (Batman, Tomb Raider, No Time to Die). For filmmakers, it's one of the best video lights around.

In use, the AEOS 2 Pro is intuitive and well-designed. Its color touchscreen offers smartphone-like sensitivity, and allows you to choose your gels with impressive accuracy – what you see is what you get. It provides improved punch over the previous AEOS 2, to the tune of a 25% brightness boost, and you really do feel this when comparing them side by side. It can be used outdoors on location shoots, which is another boon for filmmakers.

The AEOS 2 Pro is a hugely impressive piece of tech. It represents a hefty investment, but it’s a joy to use and a top performer, making it worth the money.

Read our full Rotolight AEOS 2 Pro review

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Best video light for creative experimentation

Although it’s a tiny light designed for social media creatives, the Harlowe Sol 5 Spectra packs in an impressive amount of power and functionality. It is primarily designed for smartphones and offers MagSafe attachment, but can also be used free-standing on a mini tripod if you don’t have an iPhone. It’s not the most powerful light source, producing around 220lm; however, it is impressively versatile. As it’s an RGBCW light, the Sol 5 offers a broad spectrum of 36,000 colours, as well as the standard bi-color range.

If you purchase the light as part of the more expensive Creator’s Kit – which, cost aside, I would recommend doing – you’ll be able to make use of the range of modifiers, like Harlowe’s Magic Lenses that let you alter the texture and quality of the light. It also comes with a faux-leather carrying bag, making the kit easier to transport to locations.

Unlike many smartphone accessories, which are often cheap bits of plastic, the Sol 5 Spectra feels like a premium product and is something that Harlowe (formerly Hobolite) has become known for. This light is constructed from aircraft-grade aluminium, and while this does add to the cost, I think it’s worth it. The only real downside to the Sol 5 is that its comparatively low power may not be enough for your needs, especially if you’re working with a proper camera setup rather than a smartphone. If that's the case, Harlowe's more powerful Iris light could be worth considering.

Read our full Harlowe Sol 5 Spectra Creator Kit review

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Best video light for color range

The Neewer HB80C 80W LED is a reasonably priced light that offers a generously broad color range. Its color temperature scale of 2500 to 7500K takes you from a warm candelight look to a cold daytime color cast, and it's a wider range than many of the more expensive lights on this list. You can also dial in custom Hue, Saturation, and Intensity values, or use the circular color picker to choose from a selection of industry-standard Lee color gel filters.

Powered by a built-in battery, the Neewer HB80C 80W LED is a nimble light for use in a range of shooting situations. Its raw power output of 80W isn't as high as many of the other lights on my list, but it's powerful enough for plenty of standard video purposes, especially when you attach the (supplied) reflector via the Bowens mount. One thing also worth noting for video users is that the light offers several specialized animated effects, such as an explosion effect, and the Music Sync mode allows you to sync it to the beat of a track.

Read our full Neewer HB80C 80W LED review

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Best video light for music videos

The Molus G200 LED light is far too bright for my specific needs as a videographer, but if you need to light a subject from a distance, then it is well worth considering (especially thanks to its ability to boost the default 200W output to the max 300W). It will suit professional corporate and studio-based filmmakers more than social media content creators, who might be better off with the cheaper and smaller Molus X100.

A Music mode, which flashes the light in sync with audio, such as music or clapping, could be useful to some content creators; however, there's a lack of animated preset light effects (such as Lightning or Flash), which are often included in similar COB lights. Overall, the G200 is a compact, robust, and high-performing key light for serious video production, but it may be overkill for more casual videographers.

Read our full Zhiyun Molus G200 review

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Best video light for portable power

The 60W power on offer here is bright enough for most close-to-mid-distance situations, such as to-camera video, with the added advantage of producing a broad spectrum of colors with a simple twist of one of its two control dials. These dials, which also function as pushbuttons, allow you to swiftly transition between different color temperatures and brightness levels with just a few clicks, saving you the time it would take to adjust them manually. Color alterations are also integrated into animated effects, like Disco or Hue Loop, adding a dynamic element to your video productions.

The X60 RGB can be connected to a smartphone via Bluetooth, enabling you to use the ZY Vega app to modify its colors and intensity with just a few taps. The app also allows you to sample the color temperature in your shooting location using your smartphone’s camera, and then quickly and accurately adjust the LED to match that color temperature.

The Zhiyun MOLUS X60 is one of the best options for content creators who are constantly on the move, don’t have a lot of space, or are looking for a simple but incredibly functional lighting source.

Read our full Zhiyun Molus X60 review

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The best spotlight video light

The Forza 60C is undeniably expensive, but when it comes to accurate and creative color rendition, this powerful yet compact LED outperforms many of its rivals, thanks to its advanced RGBLAC color technology. I also enjoyed its wide range of creative animated lighting effects, though these will be of more use to creative video drama producers than to photographers.

Despite the intensity of light funneling through the attached reflector, the LED didn’t run too hot (and I didn’t notice any distracting fan noise), so I could quickly pack it away at the end of the shoot without a long cool-down period. This is one compact, powerful, precise, and versatile LED.

Read our full Nanlite Forza 60C review

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Best video light for professionals

The powerful SmallRig RC 350D COB (chip-on-board) LED Video Light is the perfect accessory for a studio or location-based shoot, combining a strong key light output for talking heads-style interviews with a collection of special lighting effects to enhance dramatic productions. Its relatively silent fans won’t give your sound recordist any concerns. It's an expensive device that will suit the needs of a high-end video producer rather than a hobbyist vlogger.

If connectivity is important to you, then note there were a few issues with controlling the light using the companion app. It is on the pricier side compared to some of its competitors, but its features and build quality go some way towards justifying a higher price.

See our full SmallRig RC 350D COB review

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Best budget video light

As its name indicates, the Godox ML60II Bi is a bi-color LED. Rear buttons/dials change the colour temperature output between 2800K and 6500K, for warmer or cooler lighting, respectively. You can use this to complement existing light sources on location, or mimic daylight in a studio environment, for example.

There are 11 video effects available that cycle through the color temperature range of 2800K to 6500K, evoking the light produced by the cold blue sparks of a welding torch or the warm flicker from a candle, for example. However, you can’t change the hue of the color output. Therefore, there’s no option to produce full color video effects, such as the red and blue flashes of a police car.

As a 70W LED, the Godox ML60II Bi isn’t as powerful as some lighting solutions, but it can still provide a decent degree of illumination, and can be powered by two NP-F batteries for handheld use. It is predominantly constructed from plastic, which helps with its portability but makes it more fragile than some metal-bodied lights.

See our full Godox ML60II Bi review

How to choose the best video light

To choose the right video light for your needs, these are the main things to take into account:

Power supply: Can the light be powered from the mains, a battery, or both? The latter will enable a more versatile set-up, enabling you to film both indoors and outdoors.

Color temperature: Look out for the colour temperature range; a wide range is preferable as this will give you both warm and cool light options to match the ambient light you are shooting in, or the effect you’re trying to create.

Modifiers: Check to see if the light comes supplied with any modifiers in the box. These could include diffusers to soften the light or filters to change the light’s color.

Flicker-free: Some LEDs show a fluctuation in brightness, known as flicker. The best lights are flicker-free, providing a constant level of brightness.

Bluetooth: The inclusion of Bluetooth technology in your light will allow you to connect to a smartphone and remotely control adjustments, including brightness and color temperature.

How we test video lights

At DCW, we test a huge variety of photo and video equipment, including cameras, lenses, and accessories such as video lights. Our process involves both real-world and lab testing – for video lights, we measure brightness output and compare it to the manufacturer's claims. We also consider factors such as portability, color temperature range, and lighting modes to assess how useful the light will be to working videographers. Learn more about how we test and review on Digital Camera World.

FAQs

This professional video light from SmallRig is intended for videographers and filmmakers, optimized for on-location shooting at official sets in a dark studio environment. However, I am the furthest thing from being a professional filmmaker, and a complete novice when it comes to videography and video editing.

So for these reasons, I decided to review the SmallRig RC 220B Bi-color video light in the context of photographic use, with the intention to approach this review in the assessment of its practicality as a tool for photographers and still work, rather than its intended use as a videography and studio companion. Photographers need top-quality studio professional lighting rigs too, right?

SmallRig currently offers this video light at a price of $369 (around £336.90 / AU$531), which is considerably more affordable than similar products available from competitors such as Rotolight and Godox. Other COB LED lighting equipment and accessories from SmallRig's extensive catalog are also reasonably priced for both the professional videographer as well as for those first entering the field. 

Most recently I had the opportunity to put the SmallRig RC 220B to the test during a last minute newborn baby shoot with my three week old nephew. The nature of this shoot meant that I needed a light source that was powerful enough, yet not too blinding for the baby. 

It needed to be able to deliver results quietly and subtly without being obtrusive, which this light was brilliantly suited for, having been designed and intended for use on movie sets where silent shooting is an essential feature. 

You can read all about the experience of my first newborn baby shoot and how it didn't exactly go to plan - but this was of no fault to the SmallRig RC 220B. For now, we'll focus on how the point-source video light performed during its debut test shoot with the subjects of a goldendoodle and a plastic bonsai tree. 

SmallRig RC 220B: Specifications

Illuminance (1m): 84500 LUX within 1-meter
Power supply: Dual Adapter / V-Mount Battery
Power Consumption: 260W
Color Rendering Index (CRI): 95+
TV Lighting Consistency Index (TLCI): 96+
Color temperature: 2700K - 6500K
Mount: Standard Bowens
Power range: 0-100 per cent / 0-10 FR
Wireless: Smartphone app 
Light effects modes: Flash, Paparazzi, Lightning, Party, Broken Bulb, TV, Flame, Fireworks, Heartbeat
Dimensions (main body/controller): 240×122×237.6mm
Weight (main body/controller): 5,500g (5.55kg)
Included accessories: SmallRig RC 220B COB Bi-Color LED Video Light (2700-6500K), plastic cover, RC 220 Series Hyper Reflector, AC Adapter, and Power Cable. 
Separate accessories: RA-R6090 Rectangular Softbox & V-mount battery plate.

SmallRig RC 220B: Key Features

The RC 220B offers color temperature adjustment and 9 built-in light effects that include: Paparazzi, Firework, Lightning, Fault Bulb, TV, Breath, Flash, Party, and Flame. These can be changed using the back display screen on the light, as well as via bluetooth remote control with the smartphone SmallGoGo App, available on both iOS and Android Google Play app stores.

It has a built-in ultra-quiet active cooling fan system that automatically triggers when the temperature rises above 60°C or exceeds 140°F. A very faint noise can be heard from the light (even when using a softbox) when the fan is active, but this may be because I was sat on the floor directly in front of the light and in very close proximity to it, whereas in a studio or larger space I imagine this would be virtually silent.  

The RC 220B boasts stepless dimming controlled via two adjustable knobs at the back of the light alongside the integrated display screen, to ensure that you achieve the precise meter of light needed for the brief. 

The video light is extremely easy to use and operate, boasting the latest in COB light technology, and the high CRI rating and color fidelity make it perfect for professional use as well as confidence and certainty in still work and photography that your colors are accurate and subject well lit. 

Included with the light is a high-reflectance circular hyper reflector, and at a distance of 1 meter (3.3ft.) away, the center illuminance and beam from the reflector reaches an output of  84,500 lux at 5600K!  This power alone is a key feature of the light and improvement upon its predecessor, the slightly less powerful SmallRig RC 120B, and the variable color output is ideal for use in mixed light situations. 

SmallRig also included the RA V1 V-Mount Battery Plate which is super handy and conveniently attached to my light stand in seconds to allow for convenient battery-powered supply to the light, instead of having to use the included power supply adapter. This arrived in a neat box with inner filling to protect the plate, and with the required power cable included. 

SmallRig RC 220B: Build and handling

The rig part of the light has a convenient built-in umbrella hole, as well as a sturdy and robust integrated handle for a more secure grip and easier directing of the light source. The SmallRig RC 220B is designed and fitted with an industry standard Bowens mount that is compatible with most light-control accessories including reflectors and softboxes from a multitude of brands.

Included with the SmallRig RC 220B was an extremely luxurious high-quality portable storage bag with compartments to safely house each element of the video light. A gray carrying case was also supplied with the RA-R6090 Rectangular Softbox (sold seperately) that I used with the light, making each piece of equipment travel friendly and easily portable due to the ideal storage SmallRig provided with the products. 

The softbox was fairly easy to assemble, having to lift each strain of the light upwards until it clicked into place, and then attaching both parts of the white velcro material into the softbox, the smaller sheet followed by the larger. The difficult part was de-assembling the softbox which I found nearly impossible until my partner stepped in to help. The mechanism requires you to lift up the inner poles even higher past the locking point for it to then release slowly folding into itself. 

The back of the light features a high quality display, with two clickable and rotatable knobs for adjusting frequency, output and color temperature, with a dimmer control, and effects. Operating the light couldn't have been more simple, especially for a photographer like myself with only basic knowledge and limited transferable videography skills. 

Turning the light on is controlled by a simple flip switch on the back of the unit, and in addition I spotted what looks like  a small reset button. The instruction manual provided with the light unfortunately had very limited language options, and the app was also in Chinese! So this meant I had to do a fair bit of research online to discover what each button and function of the video light was intended for. 

The overall feel and build quality of this video light felt robust and extremely sturdy, though it did give me some doubts that my own Fudesy stand (purchased on Amazon as part of a backdrop bundle) would be strong enough to support the weight of the light, and thankfully it was! SmallRig do not supply a stand with the light which may be important to note. 

Having never owned a professional studio/video light this was a little surprising to me that a crucial accessory wasn't part of the package, although I guess professional videographers or studio owners would be expected to have a few stands lying around, I guess the same way that a tripod wouldn't be included when you purchase a camera. 

SmallRig RC 220B: Performance

The overall performance of this light exceeded my expectations, it was astoundingly bright when I first powered it up, and even when lowering the frequency and dimming the light it still felt too powerful to be used without a softbox, let alone with a directional hyper-reflective beam. 

The power of this light is truly unmatched by anything I've used or tested before and lit up the space beautifully once I had the settings narrowed down to a fine art. 

Again, in a much larger and open space than my conservatory, in professional film and studio environments, I imagine this video light would truly have its time to shine (pun intended) and demonstrate its full-blown potential. 

That being said, I still really enjoyed using the light and it will no doubt make an exceptional addition to my kit and really up my portrait game next time I have an indoor studio photography session booked.

As previously mentioned, the light can be controlled via an app, and while mine for some strange reason defaulted to Chinese on my Samsung S21 Ultra, it still worked seamlessly and required virtually no setup as Bluetooth was already active on the RC 220B, so I simply had to input an email address and verification code, and then it was all set up and good to go. 

The app made things much easier when operating light adjustments when not standing directly behind the light or facing the display screen, meaning I was free to move around accordingly without needing to work the light from one stuck position. The app even allowed me to update the light's firmware through Bluetooth and was super quick and easy.

For the very first initial test shoot, I had the light facing downwards towards the floor where my Goldendoodle pup Tilly was sitting patiently. Treats were necessary to keep her still as I shot using my Canon EOS 5DS. I experimented using a higher and lower frequency and intensity, and gradually adjusted the light temperature to be a little warmer and found this worked best for my subject. 

For the second test, I set up just a few meters away in the kitchen where my subject became a plastic bonsai tree. This allowed me the opportunity to really test out the light's modes and functions without scaring away my dog from flashing rhythmic lights. 

The light during this test lit up the kitchen when I purposefully left the artificial lights off, and reflected behind the subject bouncing off the window behind the tree and lit it perfectly. I again used the softbox for this test as I found the beam light to be a little too overpowering for what I needed. 

The third test involved a newborn baby shoot with my nephew, where the SmallRig RC 220B performed excellently. It was also my first time transporting this light out of the house and the second time around I found it much easier to assemble and set up faster, and the app was super helpful at letting me shoot while essentially controlling the light hands-free. 

SmallRig RC 220B: Sample Video

This light was intended for video use after all, so here's a clip I captured demo-ing the different color temperatures and light affects that this SmallRig powerhouse can offer. If filming a scene based on a stormy night, this light meets the brief flawlessly. 

SmallRig RC 220B: Verdict

Following the release of its predecessor, the SmallRig RC 120B COB Light, this beefier RC 220B video light packs more power, with a higher Lux output, greater power consumption, and being a little on the heavier side. Other specifications such as the TLCI, CRI, Radio Frequency, and app capabilities however are all exactly the same.

So what makes the RC 220B worth the upgrade for those that have the very slightly older model (released just six months ago)? Firstly, it's powerful enough to be used as a key light, and when paired with the hyper reflector, it creates a strong intense central beam with softer edges, that beautifully lights the subject from a distance. 

Being the first generation point-source LED light of SmallRig's, this video light has virtually no faults found from my time testing it and truly exceeded my expectations. The RC 220B (bi-color) was launched with its sister, the SmallRig RC 220D (daylight) with no CT adjustment features. The SmallRig RC 220B costs $369.00 (around £336.90 / AU$531), whereas the RC 220D sells for a $329 (around £283.50 / AU$485).

While this light is undoubtedly excellent, if you're a photographer looking to purchase a light for your regular setup - the extra equipment needed such as a stand, additional softboxes if the reflector isn't your style, and V-mount battery if you want to avoid long hanging cables - makes the price of this COB light much less budget-friendly for an entry-level videographer or stills shooter new to the field. 

If you don't need the variable color temperature feature, then it might be worth considering the daylight version RC 220D instead to save a few dollars, otherwise, this light is superb overall with no faults to be found and would make a great asset to your kit collection, the ideal companion for portraiture and creative videography. 

Rotolight has launched its brand-new Kickstarter campaign giving you the ability to support and be among the first to receive the incredible next generation lineup of innovative Rotolight products: the Rotolight NEO 3 and AEOS 2.

The duo of next-generation lights is set to give photographers unprecedented lighting control with a white balance that can be adjusted to one of 16.7 million colours or have one of 2,500 digital filters applied to it. Recycling times are usually a hassle causing delays between shots when using a conventional flash. As both the NEO 3 and AEOS 2 make use of super bright LED technology you get an astonishingly bright light source with no downtime between shots so you'll never miss a moment. 

The new NEO 3 and AEOS 2 lights are compatible with the previous generation’s accessories, while they’re also introducing a new Rotolight Universal Speedring Adaptor which unlocks a suite of Bowens-mount modifiers as well.

Benefits to pledging not only involve being the first in the world to get their hands on these state-of-the-art lighting products when they start shipping in February next year, but also give you access to exclusive early bird prices.

Rotolight NEO 3: Portable, powerful and packs a punch!

The Rotolight NEO 3 is the smaller of the two lights announced and although small it still manages to pack a powerful punch. In-fact it’s the brightest LED light ever produced that's designed to sit on a camera’s hotshoe.

Building on the success of the Rotolight NEO 2, the NEO 3 adds greater power, an innovative touch screen interface on the back of the light and is designed to fit seamlessly into your workflow with the Rotolight iOS & Android App. It also features a brand-new high-performance Lithium battery so you can shoot brighter and for longer.

Save up to 20% on the Rotolight NEO 3 Starter Bundle which has an earlybird price of £352/$479 down from £429/$599. There's also huge savings to be had with the NEO 3 Ultimate Bundle which comes with the NEO 3, Diffuser Dome and Fast Charger which has a discounted price of £380/$519 down from £459/$649.

The biggest saving comes from the Rotolight NEO 3 Kit which comes with a trio of NEO 3 lights with diffuser domes, light stands and batteries for each light as well as a dual channel fast battery charger and a hard case to keep your lights protected.

Learn more about the Rotolight NEO 3, or click here to buy. 

Rotolight AEOS 2: Professional lighting redefined

The Rotolight AEOS 2 builds on the success of the highly-rated original AEOS and offers image-makers unmatched versatility. Uniquely lightweight with an ultra-thin design, this new LED from the world’s most innovative lighting brand is the thinnest and lightest 1x1 panel ever made weighing in at under 1.4kg. 

The AEOS 2 incorporates the brilliant new SmartSoft Box feature which, allows you to switch from a beautiful soft output to a harder light source at a moment’s notice. Electronically adjusting the diffusion, focus and spread of the light. 

Just like with the NEO 3 there’s some massive savings to be had with the AEOS 2 including the base Rotolight AEOS 2 package which comes with the AEOS 2 light, a diffuser dome, and a power supply unit which is just £825/$1119, down from £999/$1399. There’s also the Ultimate, Masters and Explorer bundles which are worth checking out and have varying amounts of lights, spare batteries and accessories, all with 20% off the RRP.

Learn more about the Rotolight AEOS 2, or click here to buy. 

Brand-new touchscreen

Both the NEO 3 and AEOS 2 feature a brand-new two-inch touchscreen display on the back of the panels giving photographers and videographers an intuitive way to dial in settings and access key features at a moment’s notice. The intuitive display allows users to quickly switch between presets, change the white balance, choose gels, change between flash modes and much more without delay.

Rotolight iOS & Android App

With an all new Rotolight iOS and Android native app, you’re always in control. Easily switch between lighting modes, adjust power, SFX and change the quality of the lights from one in 16.7 million colour options. You can even match colours using the camera on your smartphone. Create custom groups and projects on up to 20 lights simultaneously; right from the palm of your hand.

Rotolight NEO 3 and AEOS 2 price and release date

The Rotolight NEO 3 and AEOS 2 is available now, with prices starting at £352/$479. For more information and the full list of kits, accessories and bundle options, head to the Kickstarter campaign.

If you've been looking for a portable ring light that's ideal for desktop use and vlogging, you can save a cool £25 on the Rotolight Ultimate Vlogging Kit, which is currently just £55.99.

The Rotolight RL48-B Stealth was one of the best ring lights, but disappeared from the market a while ago. Now it's back in an all-in-one kit, which also includes a Rotolight mini tripod, stand adapter, phone clip and accessory bar – making it the perfect partner for a tabletop smartphone setup. While this kit is geared towards phones, the RL-48 is also an ideal on-camera light for DSLRs and mirrorless cameras. The Rotolight Neo 2 is a bit heavy and unwieldy for the hotshoe, but this smaller model is just the right size (though this kit doesn't include a foot for the shoe), and the hole in the middle is perfect to poke a microphone through! 

More Rotolight Ultimate Vlogging Kit deals: 

Read more: 

Best ring lights
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If you've been looking for a portable ring light that's ideal for desktop use and vlogging, you can save a cool $30 on the Rotolight Ultimate Vlogging Kit, which is currently just $59.99.

The Rotolight RL48-B Stealth was one of the best ring lights, but disappeared from the market a while ago. Now it's back in an all-in-one kit, which also includes a Rotolight mini tripod, stand adapter, phone clip and accessory bar – making it the perfect partner for a tabletop smartphone setup. While this kit is geared towards phones, the RL-48 is also an ideal on-camera light for DSLRs and mirrorless cameras. The Rotolight Neo 2 is a bit heavy and unwieldy for the hotshoe, but this smaller model is just the right size (though this kit doesn't include a foot for the shoe), and the hole in the middle is perfect to poke a microphone through! 

More Rotolight Ultimate Vlogging Kit deals: 

Read more: 

Best ring lights
Best LED panels
Best lighting kits
Best ringflash

Whether you’re a remote working dialling into video conferences, an executive replacing the board room with your spare room, or a creator who wants the best quality content, the single most important part of your setup is the lighting. 

Content creators have long understood the need for great situational lighting, but for millions of people now working remotely it’s something they’ve never had to consider before. 

However, it’s just as true for vloggers as it is for VPs; you need a dedicated desktop lighting setup to create a professional appearance, whether you’re using a webcam on your computer or your smartphone for YouTubing. 

Thankfully Rotolight, the leader in the field of continuous LED lighting, has created two bespoke kits that provide the perfect solution: the Ultimate Vlogging Kit and the Video Conferencing Kit.

Ultimate Vlogging Kit

For content creators, the Ultimate Vlogging Kit offers a lightweight, portable rig that can be taken and set up anywhere – and even used handheld. Makeup tutorials, YouTube videos, Instagram content and even TikTok videos will drastically improve by adding quality lighting.

This kit is built around the award-winning Rotolight RL48 ring light, which achieves sumptuous and soft illumination that fills unflattering shadows. It also adds beautiful and distinct catchlights to your eyes, creating a look worthy of high-end productions. 

The light can also be modified with diffusion filters, skin tone filters, and even color temperature filters. This means you can soften the light, give your makeup an artificial boost, and get perfect lighting at any time of day.

Using the mini desktop tripod, universal smartphone mount and accessory bar, you can mount the light, any phone and even a microphone (not included) for an all-in-one video solution. And if you need to vlog on the go, the tripod can be used as a grip for those dynamic walking-talking pieces! 

Powered by three AA batteries (not included), giving you over four hours of continuous shooting, the Ultimate Vlogging Kit is ideal for creating great content wherever you go. 

Learn more about the Ultimate Vlogging Kit, or click here to buy. 

Video Conferencing Kit

It’s not just YouTubers who need good light, though. Maybe you’re one of the many people now working from home, and attending digital meetings via Zoom. Perhaps you’re an educator, hosting training and webinars on Bluejeans. Or you could be an executive, whose business lunches have been replaced by Skype sessions. 

Either way, you don’t want to be the person on the call with dark, grainy, low-fi video. Put your most professional foot forward and look your best, with the desk-based Video Conferencing Kit.

The award-winning Rotolight NEO 2 delivers powerful, adjustable light that creates the best virtual first impression. This high-quality, dimmable light eliminates shadows and can be electronically adjusted to produce the right amount of power, and the perfect color temperature – enabling you to get great video in daylight, mixed light and even sunset.

The height-adjustable desktop stand makes sure that your light is coming from the right position, and the 360-degree ballhead enables you to angle it perfectly for clean, corporate illumination – or more artistic lighting, if you prefer. The NEO 2 can be powered by mains or by six AA batteries (not included) for up to three hours, meaning you can easily take the light with you should you need to move your home working station. 

Again this kit comes with a four-piece filter set, with skin tone filters for a quick touch-up, a diffusion filter to soften the light even more, and color temperature filters to save you adjusting it manually. 

Learn more about the Video Conferencing Kit, or click here to buy.

Both the Ultimate Vlogging Kit ($89.00 / £66.65 / €79.00) and the Video Conferencing Kit ($299.00 / £208.32 / €269.99) are available to purchase from Rotolight.com and at leading retailers now (prices exclude tax).