user14595: I'm trying to shoot video of a buddy playing music. I have a room that I need to light up for the camera. I'm looking into LEDs as they have good light output/low heat.
What is the difference between a NEEWER CN-216 with 13W total power / NEEWER CN-160 w/9.6W max power
VERSUS 
Buying a clamp light and throwing a flood LED light in it, such as Hyperikon PAR38 14W (CRI 90+)?
Total is around $22.50 per LED+clamp vs a CN-216 which is $40 with lower wattage. Besides portability is there anything else I'm missing here? 

user10931: The first question you asked answers itself: just read the specifications of the two products and compare.
The second question you asked is perhaps more interesting.  LED matrix lights on cameras give to video the kind of look that flashes mounted on cameras give to photographs.  They separate foreground from background due to the (typically) large falloff of light between nearby and distant objects.  They tend to create a very contrasty look, with surfaces perpendicular to the camera reflecting lots more light than surfaces less so.  I.e., foreheads and cheekbones will be very bright, sides of face less so.  Being relatively small sources, they tend to throw distinct shadows, but because of their location relative to the camera, the camera doesn't see the shadows.  The LED matrix lights can obviously be removed from the camera and placed on a stand, but you haven't mentioned buying a stand or a shoe mount, and you might hate the shadows that they do cast, so they are likely to wind up on the camera.
A clamp light can be mounted off the camera, and a clamp light needs AC voltage, so you have to find a place to plug it in.  Since LEDs burn as cool as they do, it's easy to put diffusion across the face of a clamp light.  Large-faced clamp lights can give you even softer light, which means fewer distinct shadows falling on your subject.
If you do go with the PAR lights, you might want to get a second one so that you can use one for a key light and one for a fill light.  Or get a third so you can add a rim light.  Three point lighting makes all the difference in how things look in video.
If you go the PAR route, I recommend looking at SORRA Vivid (CRI 95+) products.

14595: <p>I'm trying to shoot video of a buddy playing music. I have a room that I need to light up for the camera. I'm looking into LEDs as they have good light output/low heat.</p>

<p>What is the difference between a <a href="http://amzn.com/B00FJ0RGD0" rel="nofollow">NEEWER CN-216</a> with 13W total power / <a href="http://amzn.com/B004TJ6JH6" rel="nofollow">NEEWER CN-160</a> w/9.6W max power</p>

<p>VERSUS </p>

<p>Buying a <a href="http://amzn.com/B000HHQ94C" rel="nofollow">clamp light</a> and throwing a flood LED light in it, such as <a href="http://amzn.com/B00RMK05Y2" rel="nofollow">Hyperikon PAR38</a> 14W (CRI 90+)?</p>

<p>Total is around $22.50 per LED+clamp vs a CN-216 which is $40 with lower wattage. Besides portability is there anything else I'm missing here? </p>
 10931: <p>The first question you asked answers itself: just read the specifications of the two products and compare.</p>

<p>The second question you asked is perhaps more interesting.  LED matrix lights on cameras give to video the kind of look that flashes mounted on cameras give to photographs.  They separate foreground from background due to the (typically) large falloff of light between nearby and distant objects.  They tend to create a very contrasty look, with surfaces perpendicular to the camera reflecting lots more light than surfaces less so.  I.e., foreheads and cheekbones will be very bright, sides of face less so.  Being relatively small sources, they tend to throw distinct shadows, but because of their location relative to the camera, the camera doesn't see the shadows.  The LED matrix lights can obviously be removed from the camera and placed on a stand, but you haven't mentioned buying a stand or a shoe mount, and you might hate the shadows that they do cast, so they are likely to wind up on the camera.</p>

<p>A clamp light can be mounted off the camera, and a clamp light needs AC voltage, so you have to find a place to plug it in.  Since LEDs burn as cool as they do, it's easy to put diffusion across the face of a clamp light.  Large-faced clamp lights can give you even softer light, which means fewer distinct shadows falling on your subject.</p>

<p>If you do go with the PAR lights, you might want to get a second one so that you can use one for a key light and one for a fill light.  Or get a third so you can add a rim light.  <a href="https://en.wikipedia.org/wiki/Three-point_lighting" rel="nofollow">Three point lighting</a> makes all the difference in how things look in video.</p>

<p>If you go the PAR route, I recommend looking at <a href="http://www.soraa.com/products/23-PAR38" rel="nofollow">SORRA Vivid</a> (CRI 95+) products.</p>
