Apology for clickbait not accepted.

One thing that helped me out was rigging up a 2ft x 1ft cardboard segment wrapped in refective aluminum tape. I put thin metallic stickers that are made for phone cases underneath the tape on the top and bottom, so it magnitized to the MT Pro. It works in a similar way to the barn doors on an Ice Light, but it bounces a lot of that wasted light from the sides directly forward. The grid that's included works well for making sure you have control of the spill, but a side effect of putting that on is losing a ton of available light that's not being redirected forward. Almost seems like I'm getting double the lumens on the far wall when I squeeze the reflector to about 60 to 90 degree V shape.

I like the light effects that you show at the end. This could almost be a stand alone video.

@Winbrown333

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Thank you so much!! I’ll take that into consideration when making new video ideas

I use this light on every shoot I work on. The biggest thing its useful for is pairing it with another MT pro, both using the LCD and using it for interior car rigging for a key light for driver and passenger talent. Also very useful for a quick fill light when following along with a steadi op. Easily my favorite light and the fact it can act as a CRMX RX is amazing for those older lights that don't have CRMX and then linking them all with Luminair or Blackout. I with aputure made a 4ft one. I know they have their infinibar series but having a couple 4ft MTs would make affordable options available. Good luck on your film endeavors

Good video Winston, I'm still getting a pair of these lights. They should be useful for filming cars to highlight details and give cool effect like underglow.

All you need is a diffusion panel. That will soften your light a ton!

you should keep doing videos. i saw that you have 57 subscribers and astonished how low the number is compared to how good your vidoes are. then i checked and you only have 6 videos. keep em posted please.

If you were to choose between two mt pro’s and one mt pro and pt2c, what would be your choice?

Hi Winston! Don't worry about it... this light will be good for you later - when bought another bigger lamp such as Amaran 300C - as a hair, trim and practices... :) Be patient.. believe me, you will have money for it... don't give up! Cheers!

granted at $370 if you are looking for really good lights the Aputure LS 60d's are great!

my control wheel broke on the first job

you can bounce it to make it a key

A small light will almost never be a good key light; Especially a soft key light. The size of the light relative to the subject is what makes it a soft or hard light source. Holding that against this light is sort of misunderstanding what this light is for, but it’s also a problem with the industry marketing the light as a soft light just because it’s diffused. Diffusion technically softens light, but not always in the way most people think. Diffusion just spreads the light evenly onto a larger surface; growing the size of the light. A small light can have all the diffusion in the world, but if it’s still a smaller source relative to the subject being lit, it’s always going to be a harder light source. Diffusion also cuts the light output, which is why starting with a bright light is important if you want soft light, because then you can use diffusion to spread (which will cut the starting output) the light evenly through or onto a larger bounce surface while maintaining a useful amount to light the subject in the end. Again, size of the light source relative to the subject being lit is what makes it a soft or hard light source. If you want it to be softer, it needs to be a large source, and if you want it to be harder, then it needs to be a smaller source. Once this clicks, (and I know season professionals that still don’t grasp this concept) lighting becomes very simple and it’s much easier to navigate how to pick the right lights for your needs, instead of relying on the marketing that often over promises their capabilities in vague terms. All these smaller lights that have flooded the market also become way more niche and specific in how they can be used effectively.

Pick an Aputure 300C plus a cheap softbox.

A little bit of script - and a bit unscripted. Unscripted has a tendency to be time consuming for the viewer (with lots of "uhm"s and losing the plot). Scripted appears scripted and turns people away....as not authentic. My personal advice would be: plot your story, write down some keywords that you want to talk about and then talk freely. You could do a bit better with the lighting, especially with what's seen in the background....not super appealing, but of course you have to work with whatever you got. In terms of lighting especially for a smaller studio, I highly recommend the Amaran P60c......damn those lights are fantastic. Wishing you all the best