Godox S30 – LED Focusing Lights For Photographers & Videographers

(mysterious tones) – Hey, I’m Luke Edmonson. – Hey, and I’m David Edmonson. – And we’re excited to be
back again with you today. We’re working on the Godox S30 project and we hope you enjoy what we’ve produced. (upbeat music) – [Luke] With the S30, Godox
is bringing photographers and entirely new lighting ecosystem. Originating as stage
lights for the theater, advances in technology now allows for a more compact footprint, using LED. If you’re not familiar
with focusing lights, what you need to know is that
everything is adjustable, directly on or from the lighting unit. You make the creative decisions
over which lenses to use and how to deploy the various accessories to modify the quality,
quantity, shape, color, texture, and so much more. The end result is tremendous
flexibility, precision control, and gorgeously even light distribution. – [David] When planning a shoot, it’s fun to create a backstory because it helps us and
our audience understand what might be motivating
our character’s gestures and expressions. Take a look and see what we mean. (ragtime piano music) (phone ringing) (phone ringing) (audience laughing) (audience laughing) (phone ringing) (audience laughing) (audience laughing) (phone ringing) (audience laughing) (audience laughter) – [Luke] The S30 truly is
like a Swiss Army Knife and took us back to our formative days, working in the theater. – You know, what we really wanted to do was take these things,
kinda to their outer limits of what we typically do, so we built a set that was like 12 feet
tall and 20 feet wide and we were trying to
recreate kind of a 1950’s, kind of an Edward
Hopper-esque type of scene, of a train station. – Very minimal, very stylized. – [David] You know, the
first thing that we do is sketch the composition in our mind and pre-light it even,
and then think about who we’re gonna cast. – We wanted to play a
bit off of Buster Keaton, who is one of the kings of gesture. And one of the things
that he would always do, if you watch his films,
is the camera itself, the placement of the camera
itself, was of such importance because, as the audience,
our eye can only see what the camera shows us. And because of the way
that he did his perspective with the camera, it allowed
room for the shape of the joke to happen, so suddenly
the audience realizes that somebody’s entered or
somebody’s doin’ an action, ’cause the camera can see it, knowing that the main character is completely oblivious or unaware. – And they’re able to anticipate, because they’re in on the joke, before the person even knows it. – Exactly right.
– Absolutely. (thoughtful music) I have so been looking
forward to this light because it is compact, it doesn’t get hot. – There’s so many
different ways that you can chisel light, create shadows,
throw scrims on there, color gels, different lenses. It’s an extremely versatile workhorse, all the different
attachments that you can put on both the front, within, and then controlling it from the back. Great edge to edge
brightness, very even across. Incredible consistent
color and for photographers that are trying to create
but wanna be able to see what it is they’re doing, the S30 could be a
wonderful recommendation. (upbeat music) – We admire how theatrical
lighting designers use light to frame the stage,
as well as directing our eyes where to look. One helpful way to think
about lighting a scene, is it is equal part
sculpting and painting. Covering large areas and
chiseling away at small ones. For David and myself,
the art side of things always informs our technical decisions. We want our lighting to establish
an emotional undercurrent and to incorporate light in a way that creates interesting
visual shapes and forms. When concepting the scene
of a 1950’s train station, we wanted the lighting to be both expressive and purposeful. Because of that, we imagined
the time of day to be about 5:15 PM, suggesting
a mixture of strong light and shadows, with a bit of dapple. We wanted the three downlights to create an architectural statement. The remaining lights are used to communicate mood and atmosphere, and help bring emphasis to
different areas of importance. One useful tip is to pay close attention to where you place both
your highlights and shadows. To emphasize your main
subjects, seek to separate them from the background, to
communicate their importance. Photographers now have an
incredible new tool available with the Godox S30 Focusing Light. It’s perfectly suited for still-lifes and product photography,
along with portraits and interview set-ups. Because of it’s accurate
color temperature, even light distribution,
and wide range of modifiers, our design possibilities are limited only by our imaginations. That certainly excites us and
we hope it excites you too. Thank you for watching,
liking, and sharing this video. We believe that lighting design
starts with our creativity and we can’t wait to
see how you use the S30 to bring your ideas to life.

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