Full-colour key light when you want the mood built in camera instead of fixed in the grade.

The default soft key for portraits and beauty - flattering falloff, folds away in seconds.

Cuts a hard, controlled beam for gobos, logos and tight pools of light on a backdrop.

Wraps a whole set in soft, even light - the fast answer for interviews and group shots.

Focusable hard light when you need a defined edge and real falloff across the set.

Trims the beam off walls and ceilings without touching the light on your subject.

Draws a clean edge down a subject or a bottle - the go-to rim and separation light.

Covers full-length and group shots in one soft source, with no second light needed.

Soft light where there is no room for it - tight corners and fast turnarounds.

Bends into places a hard fixture cannot go, and colours the shot without gels.

Hides inside the set for soft fill you can dial from warm to cool on the spot.

A wrapping full-colour source big enough to light a whole person, soft and shapeable.

Large bendable soft light with tunable white - a good key when the space is awkward.

Dependable everyday key for interviews and small sets, warm or cool at a twist.

Practical light you can leave in frame - accents, glow behind a subject, colour pops.

Full-height stripes of colour on a backdrop, or a long practical running through frame.

The reliable hard key most shoots start with - plenty of punch, clean daylight.

Same punch as the 300d, but it matches window light or tungsten without gels.

Cuts through daylight and fills the biggest modifiers when 300W is not enough.

The strongest light in the room, with full colour control for tricky mixed lighting.

Holds silk or bounce overhead for a soft, sun-like source on portraits.

The standard overhead build for full-body work - soft light across the whole subject.

Puts a whole car or a group under one soft source instead of a patchwork of lights.

Turns a hard light soft on the 8×8 frame - the diffusion fabric on its own.

The diffusion layer for the 12×12 frame - even light over a full-length subject.

Diffusion for the largest frame, when soft light has to cover a car or a crowd.

White side fills the shadows, black side deepens them - two jobs in one fabric.

Small cutter for keeping light off a nose, a lens, or a hot spot on the wall.

Separates subject from background by taking light off one and not the other.

A big cut for shaping a set, or negative fill to put shape back into a flat face.

The heavy cutter for full-figure control and deep, contrasty negative fill.

Softens a single light without building a full overhead - the quick diffusion answer.

One flag that unfolds into two when the cut has to reach further than you planned.

Cut, soften or halve a light - solid, nets and silk in one case for fast shaping.

Bounces light back into a face on location when there is no room for a stand.

Full-body fill from a single panel - bounce, diffuse or flag depending on the side.

Stands tall beside a subject for even, top-to-toe fill in fashion and product work.

A long, narrow highlight down glassware, bottles and shoulders.

Huge, fast soft light - opens like an umbrella when there is no time to build a box.

Green screen for keying, so the subject can end up anywhere in post.

The video body for low light and high frame rates when the day runs into the night.

Fits a whole room in frame - interiors, establishing shots and tight locations.

Portrait reach and true macro in one lens - jewellery, detail and skin texture.

Gets the camera inside a drink, a set piece or a product where nothing else fits.

Keeps a presenter on script while looking straight down the lens.

Powers lights and cameras away from the wall - location days without cable runs.

Freezes motion and beats the sun outdoors - the flash for movement and daylight.

Change every strobe from the camera instead of walking back to each light.

Hangs a light off pipe or truss when the floor is out of stands or out of room.

Reaches a flag or light out over the set where a stand would end up in frame.

Joins two pieces of grip at any angle when the rig refuses to line up.

Clamps a light onto a door, a shelf or a set wall when there is no stand.

The second line on anything rigged overhead - cheap insurance for the whole crew.

The stand everything else hangs from - lights, flags and arms, all day.

Flies a heavy fixture over the set and out of frame, counterweighted and safe.

Rolls a big light into position and back out without breaking the rig down.

Puts wheels under a stand so a lit setup can move without being re-rigged.

Holds a slider steady so the move stays smooth instead of the shot wobbling.

Carries a full cinema build and still pans smoothly under the weight.

Adds gentle movement to a locked-off shot in a space too small for a dolly.

Long, heavy dolly moves on rails when the shot has to travel with real weight.

Makes light beams visible - the atmosphere that reads as depth on camera.

Snow and bubbles made in camera, so nothing has to be added in post.

Throws pattern, texture or imagery onto a subject or backdrop as a live effect.

Keeps stands and booms on the ground - the first thing on every overhead rig.

Hands-free talkback between director, camera and lighting without shouting across the hall.

Puts the camera's picture on the director's monitor with no cable across the floor.

A bigger, brighter frame to judge focus and composition on, on camera or on an arm.

The mounted, handheld and underwater angles you would not put a cinema camera in.

Turns a soft Bowens fixture into a hard, focusable beam with real punch.

One fixture that covers clean white light, saturated colour and effects without a gel bag.

The long end at a constant F/2.8, light enough to stay handheld all day.

One lens that covers the whole standard range without giving up a prime's aperture.