I teach cinematography and work in the industry for the past 35 years. I typically use the 'higher priced spread' when doing commercial work but wanted to see if some of the latest 'cheaper' LED video lights were what they say. Spoiler alert: yes and no. Here's what an $850 cinema color meter revealed about these lights. What I could not measure was the full spectrum of light. This is the area where LEDs have the biggest issues. The units that have both high CRI and even color spectrum get expensive fast.Color temps: (This is an average of three readings)- full warm=3220k +7 green- full white= 5220k +8 greenSo close but not to advertised spec. But close enough for 90* of the work you will do and very good for YouTube work. The '+green' is important. Most cheap-o led lights have lots of green. This is such a minor amount and there isn't a magenta filters that low in density to correct the + green.- Both at 100% = 4160k*Now for the light output. This is in Foot candles which is industry standard. I did 3 tests. One center of light beam at 3' and 6'. One off angle 45*.Center of beam- 3'- white = 320fc- warm= 300fc- both 100%= 480fcCenter of beam - 6'- white= 75fc- warm= 80fc- Both 100% = 158fcOff axis at 3'-- warm = 40fc- white = 54fc- both = 83fcAdd included diffusion filter: (Note: doing a A-B test with industry standard 216 diffusion proved that the included diffusor is identical, which is great)- both 3' @100% = 158fc- both 6' @100% = 80fcSo what does all this mean?- The lights are 'beamy' without the diffusion. If you shine them on a wall across the room, you will notice that the center of the light beam will be brighter, and it is consistently bright across the beam, which is good. Then there is a fairly hard falloff as you measure further from the center of the beam. This is consistent with this type of 'multi-bulb' LED fixture when priced below $500 each. This 'beamy' light tells me that the LEDs are accurately placed on the circuit board, all aiming the same direction.- The provided sheet of diffusion does not color the light and softens the light considerably. It's nice and even light.- The fc falloff as you move away from the light is very typical for LED and florescent light fixtures.- The ability to hit the targeted/advertised 3400k (tungsten match) light color can only be done with by mixing the light colors. This of course, gives you a bit more light output than just the warm bulbs alone. I like the findings that the warm-only is slightly warmer than typical tungsten lights, which gives me the ability to go 'warmer' if the shot needs it.- The ability to hit the advertised 5600k is disappointing. The unit mustered 5220k which is a tolerable 200k lower/warmer than typical daylight fixtures and substantially lower/warmer than most cinema lights which produce 6500k. To match a better daylight light fixture you will need to add a 1/8th Color Temp Blue (CTB) filter to this light...and lose some output light power.Construction and features-These lights are well built. Solid. The filter slot is open on both ends so it makes it easy to put in the filter. That being said, it can slide out just as easy. Make sure you have one of the tilt knobs set to block the filter from coming out. The fixture itself has an extra set of threaded holes on the side so if one strips out (not likely unless you wrench-hand the tilt lock), you can move the the bracket to the second set. There's also 4 threaded holes on the face of the fixture which will be convenient for mounting some standoffs if you want to move the filter further from the fixture. This same fixture is offered by several manufacture names and one has the standoffs included.The knobs are metal as is the bracket and stand mount. The stand mount is industry standard 1/2" (baby pin) size.The unit will run on one battery. It does reduce the light output by a 'titch' so no real issue. With both battery slots filled with the larger 970 batteries I ran the unit at full power for 90 min. The smart charger indicated that they still had 50% left. This is really good battery life for one of these fixtures. The dimmer electronics was flicker free (from the camera perspective) throughout their entire range.The bags the lights came in are no great shakes but more than good enough to transport these lights safely. There's 4 wide, elastic straps inside which will hold the wall power unit and it's power cord, and 2 of the larger 970 batteries. The lights came with a white, dense foam protection for shipping, inside these bags. If you cut a bit off, radius'ing the corners, it will fit nicely back in the bag for daily transport protection.Like others have said, the design flaw in the power supply is the cord from the transformer to the lamp head. It's to short to allow for the weight of this to be supported on the floor. I purchased some hook-n-loop cable ties and affixed it to the power cord side of the power supply so it can be hung on the stand.The light stands- These are they typical Chinese folding stands. Not good enough for commercial work, but more than adequate for you home studio or limited field work. I will be purchasing a bag for these that will hold the two 15' extension cords I purchased. The stands do have a spring in the bottom of each of the extensions which will cushion the stand coming down if you have a heavier lamp on top. It won't just hit bottom which typically blows tungsten bulbs.Conclusion-Outstanding value for the price. If you want more light output, then buy a fixture that has all one color temp. bulbs, and use gells to correct to another color temp. Getting the all daylight units puts out the most fc by the way.These are great for lighting in limited spaces and two or more could be rigged side-by-side for a nice wall-of-light on your subject. It would be a no brainer to build a bracket holding 2 or 4 of these supported between the two light stands.The biggest down side is the daylight color temp not quite getting up to industry daylight readings. And some DIY barn-doors would help control the light spill. Barn-doors typically don't do much for these fixtures, but they do help if they are 6-8" long. You could make something like a monitor hood and velcro it to the light. On set, we call these 'snoots'.To get the best color rendition with your camera, make sure you do a white balance on a piece of white paper or gray card. Your camera will then reduce the very slight green these lights put out.