For most business videos you need less lighting than you might think. One large, soft light in front of and to one side of the speaker, a second, weaker light to fill the shadows, and a tidy background will make a talking head look clean and professional. A third light behind the subject adds separation if you have space.
The key is soft light. A small, bare light source gives hard shadows and shiny skin. Making the light bigger, by putting it through a softbox or diffuser or bouncing it off a white wall, makes it softer and more flattering.
When you compare lights, look at brightness and dimming, colour temperature, colour accuracy (CRI), power options and mounting. Those specifications matter more than the wattage on the box.
Types of video light
| Light | What it is | Good for | Limitations |
|---|---|---|---|
| LED panel | Flat panel of many small LEDs | Fill light, on-camera light, small spaces | Smaller panels are not very soft without diffusion |
| COB light | One powerful LED chip, often with a Bowens mount | Key light with a softbox, larger subjects | Needs a modifier to be soft, often has a fan |
| Ring light | Circular light around the lens | Face-to-camera videos, make-up, streaming | Flat look, ring reflections in glasses and eyes |
| Tube or stick light | Long, slim LED, often RGB | Background accents, colour effects | Little output for a key light |
You will find these in the lighting range, along with modifiers such as barn doors. Note that the category also includes household lamps, so check that a product is designed for video.
Key specifications
- Colour temperature (kelvin). Daylight is roughly 5600 K, and tungsten indoor light roughly 3200 K. Bi-colour lights let you match the light in the room or window. The Andoer LM60Bi is listed with a range from 2700 K to 5700 K.
- CRI or TLCI. These describe how accurately colours, especially skin tones, are reproduced. Values of 95 and above are generally considered good for video. The LM60Bi is listed with a CRI above 95.
- Dimming. Smooth dimming from low to full output lets you balance lights against each other and against daylight.
- Mount. A Bowens mount accepts a wide range of softboxes and reflectors. Small panels often have a cold-shoe mount for a camera or a light stand.
- Power. Mains power is reliable for studio work; built-in or swappable batteries help on location. The Liyadi on-camera panel has a built-in rechargeable battery and a cold-shoe mount.
- Noise. Powerful COB lights often use a fan. Check whether it can be switched to a quiet mode when recording sound.
A simple three-light setup
The classic interview setup uses three lights:
- Key light. The main, brightest light, placed about 30 to 45 degrees to one side of the camera and slightly above eye level. Use a softbox or diffuser.
- Fill light. A weaker light on the other side to soften the shadows the key light creates. A reflector or a white wall can do this job too.
- Back light or hair light. A light behind the subject, out of shot, that outlines the head and shoulders and separates them from the background.
Switch off overhead room lights if they mix colours or cast shadows under the eyes, and avoid having a bright window behind the speaker. If you use window light as the key, put the window to the side and use a light or reflector as the fill.
Ring lights and backgrounds
A ring light sits around the camera or phone and lights the face evenly from the front. It is quick to set up and popular for streaming, tutorials and make-up videos. The Briday 10.2 inch ring light comes with a tripod and several light modes. The downside is a flat look and a circular reflection in the eyes and in glasses, so for interviews many people prefer a softbox to the side.
The background matters as much as the light on the face. A tidy room with some depth looks natural. A plain backdrop gives a clean, corporate look, and a green screen lets you replace the background in the edit, provided it is evenly lit and the subject stands well in front of it to avoid green spill. The Femor studio background kit includes stands and white, black and green backdrops. More stands and accessories are listed under equipment.
Putting it together
Light and sound work together: the best-lit interview still fails if the audio is poor. The guide to choosing a microphone for video covers the audio side. To go further with lighting and colour grading, the courses section lists video and lighting tutorials, and the video creating section brings the categories together. Our blog also has a post on lighting a small office video shoot.
Quick checklist
- Key light with a softbox or diffuser.
- Fill light or reflector for the shadow side.
- Back light if there is room.
- Bi-colour lights to match daylight or room light.
- CRI of 95 or higher for natural skin tones.
- Stands and mounts that fit the lights.
- Battery or mains power to suit where you film.
- Background planned: tidy room, plain backdrop or evenly lit green screen.
Common questions
How many lights do I need?
One good soft light plus a reflector is enough to start. A second light for fill and a third for the background or hair add control as you go.
Is a ring light enough for interviews?
It works, but the light comes straight from the front and can look flat. For interviews, a softbox to one side of the camera usually gives more shape to the face.
Can I mix daylight from a window with LED lights?
Yes, if you set your lights to a similar colour temperature, around 5600 K. Remember that daylight changes during the day, so check the picture regularly.
