The Monolight With Many Uses
It’s hard not to come across Interfit products these days when one’s on the mission to buy good-quality LED lighting. I had been searching for something new to accommodate my videography needs better. Tungsten lighting just didn’t do it for me anymore, I wanted lights that are much more versatile and much less energy consuming, without overheating and being potentially dangerous (nothing wakes you up on an early morning shoot quite like an exploding bulb!). I’m more of a daylight kinda gal too, always preferred cooler colour temperatures around the 5500-5600K range. So, after some research and recommendation, I decided to try Interfit’s 100W LED Monolight Kit, and I haven’t looked back since.
The reason I’m so keen on using these lights on my shoots is that I can’t really think of anything they can’t do in a studio/indoor environment. The reason for this is Interfit cleverly built-in the S-mount fitting to the monolight’s (this is what we’re used to from the old Bowens days) this open’s up some creative opportunities previously not available when shooting video. Just recently, when I’ve had to feature a body illuminator product for a company while on a shoot where it was applied on models, I had to make sure this bronze-gold glow of the product is showing nicely on the skin. Hard light is the go-to option you might say to mimic sunlight which I did, but I wanted to make it more interesting, so my shots won’t look all the same. I’ve changed my setups a few times so throughout the day I’ve used a standard reflector, a rectangular softbox (that came in the monolight kit), and a large Octabox as well to soften the light in different ways. I’ve had two LED panels with me as well so I’ve had them as a gentle fill light (you can dial the Kelvin between 3200-5600 on those panels, so suit yourself with the temperature).
Since it’s possible to mount any S-type modifier onto the monolight’s, on another shoot I didn’t shy away from using a large foldable beauty dish which produced really nice, soft and even light on the face. It’s quite fun to experiment with different modifiers on the monolight’s, mix and match them and see what the results look like – I find this the best way to get to know their capabilities. Bear in mind though, that the monolight was designed to work either by itself or with softboxes, so I’d be cautious to use them with modifiers that make their ventilation difficult, such as snoots with gels on, etc.
My overall impression is that if you prepare a range of modifiers to go with your Monolights (and you have enough Monolights too) you have any studio-related video job covered. I’ve now used them for well over a hundred hours and they’ve been lifesavers and my trusted companions, and so they will be.
About Lilla Nyeki: I’m a London based content producer with a primary focus on fashion and beauty. After completing my Masters in film studies, I started assisting on photoshoots and making behind-the-scenes videos. With time and hard work I’ve developed a niche as a freelancer directing, shooting and editing fashion and beauty films for companies who launch new products or seasonal campaigns. I also do the occasional behind-the-scenes, editorial videos, or photography work. Clients include Iconic London, Phlearn (US), The New Asterisk (San Fransisco), Jolt London to name a few.