Although technically not a "ring," the Litra Glow packs everything you'd want in a ring light into a compact frame: a bright, diffuse light with five temperature settings spanning 3,800 Kelvin, easy-to-use temperature and dimming controls (accessed on the back of the light) and the ability to mount to a laptop via the computer mount (included) or tripod (not included). The included laptop mount features a head that can be angled and pivoted so you get light exactly where you need as you stream or partake in video conference calls.

As a data engineer in the Good Housekeeping Institute, Nik (he/him) works with all of our Labs to develop testing protocols and manage data collection and analysis. Before joining Good Housekeeping in 2022, Nik worked in the labs of MIT and Regeneron, working on projects ranging from chemical inventory and reporting to the development of bioassays. He holds a degree in chemical engineering from Northeastern University.

✔ Color Rendering Index (CRI): CRI is a metric that relates an artificial light's appearance to natural light. The index is a 100-point scale with 100 being 100% accurate to natural light, and 0% being a very poor rendering of natural light. Try to find a light with a high CRI (95 or above) for the most natural looking shots. Many manufacturers do not report CRI so this metric can be tough to use while shopping.

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This is the most complicated step of our diffuse lighting shader. In this step, we will perform the actual diffuse lighting calculations. Initially, our shader looks like this:

In order to actually perform the diffuse lighting calculations, we will need to add a few more variables, which determine the color and direction of the diffuse lighting. Here, we are just going to do a simple directional light. So at the top, by where we put in the code for our ambient light variables, add the following four lines of code:

On the other end of the spectrum from massive lighting apparatuses, Rotolight's Ultimate Vlogging Kit condenses the most necessary aspects of a ring light kit into a design that's under one-foot in size all together. The ring light comes with a kit that includes a mini tripod for mounting a phone, camera or microphone at the same time as the ring light, and the tripod is compact enough to fit into your hand for on-the-go video creation and vlogging.

Ring lights illuminate photo and video content in a flattering way that reduces shadows on the face and blurs the appearance of blemishes. This is possible thanks to their unique shape, which allows for filming without the camera casting a shadow, as well as their construction, being an assemblage of many small LED lights. The configuration of these LEDs is what makes the light appear diffuse and flattering compared to overhead lighting or spotlights which can cast harsh shadows or exacerbate skin's texture in collected footage.

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The first variable is a matrix that stores the transpose of the inverse of the world matrix. With our ambient light shader, we had to transform the location of each of the vertices in our object. With this diffuse shader, we will need to also transform the normals of the vertex, so that we can do lighting calculations. This matrix will be what we use to transform the normal in the correct way so that the lighting calculations work. At the end of this tutorial, we will discuss how to calculate this in your XNA game, since we will need to set it there, at the same time as the world, view, and projection matrices.

Since we are going to be worrying about lighting, we will need to store a little more information in our data structures. In particular, we will need to store the vertex's normal until we get into the vertex shader, at which point, we will need to store the diffuse light color that we calculated for the vertex. (Remember that a normal is simply a vector that points directly away from the surface at any given point, which in our case is the vertex). So we want to change our VertexShaderInput structure from:

Beyond the actual lighting components, we examine the kit that the ring light comes with, noting the ease of assembly and setup, the sturdiness of equipment, the utility of the accompanying accessories, and any unique or standout features.

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✔ Size: The size of your ring light will be dictated by the kind of content you'd like to film. If you plan on using it to illuminate video conferences and selfie videos, a compact (less than six inches in diameter) clip-on device might be the most convenient and logical, though you won't get as bright results as a larger model. For filming full-body content or lighting a larger scene, you'll likely want to size up to a larger model (nine- to 14-inches or larger) since these will not only likely have a stronger light output but will disperse that light more widely.

To make picks for this article, Nikolas Greenwald spent over 10 hours researching, examining and testing ring lights. Combining his knack for quantitative analysis and his right-brain aptitude for aesthetics, he evaluated ring lights for not only their brightness and performance, but also the quality of footage created with them.

For more on how we test and evaluate ring lights, as well as a guide of the top things to look for when shopping for ring lights, keep scrolling after our picks.

There actually isn't anything that we need to do here. However, if you copied the original file as I did, or you are still working from your original file, you might want to change the name of the technique from "Ambient" to "Diffuse". In actuality, we could have two techniques here, one called "Ambient" that just does ambient lighting, and one called "Diffuse" that does diffuse lighting as well. We could have separate functions for the vertex and pixel shaders of these two techniques, and just combine the two into one file. In an XNA game, you can choose which technique you want to use pretty easily.

Ring lights are the secret to perfect lighting in your favorite viral TikToks, YouTube videos, Twitch streams and even Zoom conference calls. These (often) circular lighting apparatuses are composed of many LEDs arranged to disperse light in a way that reduces shadows on the subject that other directional lights might produce. The ring construction is one of the ways these devices reduce shadows, allowing the photographer or videographer to place their recording device in or behind the ring such that it doesn't cast a shadow on the subject.

This ring light from JOBY is a powerhouse when it comes to performance. Of the five ring lights we tested, this model had the brightest light output, measuring 590 lux at two feet away from the light source. It also has three different temperature settings, ranging from 3,000 to 5,600 Kelvin, which can be accessed via the switch.

✔ Brightness: Naturally, you'll want a ring light that's as bright as possible, but also has some dimming options so that you can use the appropriate amount of light for different scenarios. Brightness can be reported in lux, but it can be difficult to make an apples-to-apples comparison between manufacturers. In general, larger lights tend to (but not always) be brighter since a ring light is really a composition of lots of small LEDs in a ring formation, so more surface area for the ring equals more light.

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For the beginner just getting into video content, the QIAYA Selfie Ring Light with Tripod Stand and Phone Holder offers the most bang for your buck. This ring light comes with an attachable tripod and phone holder to get you started on your video and photo projects right out of the box. We also love the inclusion of a Bluetooth remote that can be connected to iPhone and Android devices to remotely operate your phone's shutter for hands-free shooting.

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Many ring lights come equipped with phone mounts for easy DIY video creation, or are clip-on so that you can mount them to a laptop for easy use in video conferencing. Some even allow for express control over the brightness and light warmth and color to achieve different effects. When shopping for a ring light it's important to consider the application, ambient filming lighting conditions (e.g. if you film in a bright room you may need a brighter ring light to counteract the lighting) and power supply.

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We want to change this to include the color for the diffuse light, which can be done by changing this function to the following:

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Notice that all we do is add in the input color that was calculated by the vertex shader, and then call the saturate() function, to ensure that we don't try to add too much light. (You can't get brighter than pure white!)

We will make changes to each of the major components of our effect file in order. It might be worth running your program right now, just to make sure that it is properly displaying your shader, which should, at this point, only do ambient lighting. If you get lost during this tutorial, I have placed the completed code for the diffuse lighting shader near the bottom of this tutorial.

In a previous tutorial we created a very simple shader that performed ambient lighting. The shader was probably helpful, because it showed us the basics of creating a shader with HLSL. But beyond that, it probably wasn't too useful. Ambient lighting is important, but by itself, it is pretty useless. In this tutorial, we will cover the most significant component of lighting: diffuse lighting.

Diffuse reflection is the reflection of light from a surface such that an incident ray is reflected at many angles, rather than at just one angle as in the case ...

We will work from where we left off with the ambient light shader. If you are going through these tutorials in order, feel free to just continue on with your shader from the ambient lighting tutorial, or make a copy. For this tutorial, I am making a copy, so that I can switch back to the ambient only shader if I want to later. I have renamed my file to "Diffuse.fx". If you change the name of your file here, be sure to change the line of code that indicates which file to open up (Content.Load("…");).If you are just starting with this tutorial, it might be worth going back through the other HLSL tutorials, but if you don't want to, you can start with the HLSL code below:

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Notice that we've added three new lines that ultimately set the output color. The first line, float4 normal = mul(input.Normal, WorldInverseTranspose);, takes the normal and transforms it in such a way that the normal is now relative to where the object is in the world. We will need to do a little bit of math in our XNA game to calculate this matrix, which we will do once we have completed the shader code. It simply calculates where the normal is, once the world transformation has been performed, so the normal is now relative to the world, rather than the object like we want it to be.

This adds one variable to the structure, which is the normal for the vertex. This will get filled in by XNA from the Model information. Similarly, we need to add a color value to the output of our vertex shader. To do this, change the VertexShaderOutput structure from:

The second variable indicates the direction that the light is coming from, which in this case is the positive x-axis. The diffuse light color is, by default, white, and the default intensity is 1.0 (which is as bright as it gets). Feel free to play around with these values later on.

Though we didn't test this model, we loved how much control and accuracy this light delivers. This ring light is capable of producing light with a color rendering index (CRI, a measure of the proximity of appearance of artificial light to natural sunlight) of up to 97, meaning it'll illuminate anything you're filming in a natural, flattering way. We were also impressed with the dial control of both brightness and temperature, letting you very granularly choose the exact amount and color of light for your shot. While this ring light is pricier compared to some of our other picks, its pro-level control and purportedly powerful illumination make it a worthwhile splurge for those looking to take their video content to the next level.

While we didn't get the opportunity to test this model in the Lab, we were appreciative of the robust mounting options in this ring light kit, and its design particularly for overhead shooting. We also loved that the tripod head is compatible with lots of different filming equipment thanks to its 1/4 threading. Those hoping to mount a more weighty camera may want to look elsewhere though — the tripod's maximum bearing weight is three pounds. If you're only in it for the ring light though and don't mind the use of a second tripod for your camera, or if you're using a lightweight camera or phone, this kit is perfect.

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The basic idea of diffuse lighting is that the surface of the object is lit up with the light's color with a brightness that depends on how the surface is oriented to the light source. If the surface is facing directly towards the light, then a lot of light will be reflected and the surface will be bright. If the surface is not facing the light directly, less light will be reflected and the surface of the object will be dimmer. On the back of the object, the surface is facing away from the light, and so no light will be reflected.

To start with, we will perform per-vertex lighting, which is a simpler and faster approach but doesn't produce as nice of results as per-pixel lighting. This means we will do most of our calculations in the vertex shader, rather than the pixel shader. For each vertex, we will calculate the diffuse light color for that vertex and pass it on to the pixel shader, which will then just add that color value in with the color from the ambient light.

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In testing this model performed impressively, delivering 530 lux at two feet from the light source. Additionally, we were impressed with how lightweight this light is, clocking in at just 0.45 pounds (not including the tripod and phone holder), making it a great pick for the creator on the go. During testing we noticed a somewhat grating hum from the light while in use, but considering the value with respect to performance, the noise isn't a huge concern.

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The first thing we look at (unsurprisingly) while testing ring lights is the light's functionality. We take note of the controls and note the differences between different light color modes and brightnesses. We evaluate brightness with the use of a luxmeter, which reports the lux (how much light is passing through a specific surface area) in our darkroom so we can quantitatively compare the maximum brightness across different ring lights. We find lux more utile than lumens (the total brightness of light emitted by the source) because when we use a ring light our goal is to illuminate some other object, so total light is far less useful of a metric than useful light. We measure lux at 2 feet from the light source, with our luxmeter facing the center of the ring light. We take lots of selfies and videos to evaluate the qualitative characteristics of light, and appraise their use on laptop and phone cameras.

At this point, you should be ready to run your game with your new effect. Remember, you might need to go back into your game and tell it to use this new shader, instead of the ambient shader. The results should look something like the image below:

RingLight

✔ Temperature range: Temperature range matters for more precise filming and is useful if you're a filmmaker or do creative shots. It's a measure of the warmth or coolness of light's tone, and it's reported in Kelvin (this comes from the correlation of the color of emitted light by a black-body radiator at a given temperature in Kelvin). If you only plan on using your ring lights for TikToks and video conferencing you likely won't need a large color range, but if you plan to get creative it might be useful to to have a large range so you can simulate different lighting conditions

Filming overhead shots as you're crafting, cooking or doing anything else on a tabletop can be tougher than it looks. Getting a direct light source right above your work area and keeping your filming device steadily above is deceptively tricky, which is why we love the design of this ring light from Pozliv. It comes with a tripod that clips onto the desk and additional mounting equipment for attaching your smartphone or camera. The phone/camera mount features a ball-and-socket joint and the kit comes with the addition of a gooseneck mount for the ring light, making lighting and filming even the most intricate tabletop activities a breeze.

Finally, we take a look at manufacturer-reported stats like color temperature range, color rendering index and luminosity to help understand the differences in performance and recommend the best ones.

This calculates the position of the vertex in the end but does not yet take into account the diffuse lighting. To do this, we will change our vertex shader to look like this:

To choose the best ring lights, we combined both hands-on testing with our expertise and research to find the best ones available on the market.

In-Lab testing showed this ring light generates up to 300 lux at two feet from the light source, and we found the quality of light particularly flattering when comparing photos taken with the different ring lights. The color temperature range left something to be desired, only ranging from 3,200 Kelvin to 5,500 Kelvin. The difference between the three temperature settings on this model weren't as noticeable as some of the other models we tried, but given the price and other tools this light comes with, we can't complain.

We weren't able to test this model in the Lab, but couldn't help but be impressed with the design. Unlike other portable ring lights that clip directly onto your phone, this design allows you to keep full use over your phone's screen while filming, helpful for adjusting focus and lighting on the fly or interacting with TikTok filters. Due to its compact nature, it's unsurprising that reviewers have pointed out that this light isn't as bright as other models, but gets the job done for impromptu creation. We also wish color temperature could be controlled via a button as opposed to having to attach filters, but for filming on the go, we can appreciate the sheer simplicity of this device.

Remember, we need to set the WorldInverseTranspose variable in our shader so that the diffuse lighting works out correctly. Go back to your XNA code in the Draw() method where we set all of the other shader parameters. (Where we had all of the lines that say Effect.Parameters["parameterName"].SetValue(…);.) Add the following two lines of code which calculate the world inverse transpose matrix, and give it to the shader.

Lume Cube's massive 18-inch ring light is a favorite among professional videographers for its brightness, size, and perhaps most importantly, portability. It comes with a carrying case that can fit the 6.5-foot tripod stand and mounting equipment, and the ring light is cordless and powered by two included rechargeable lithium ion batteries, obliterating the limit of needing to film near a power source.

It will be pretty easy to update the pixel shader since most of our work was done in the vertex shader. Our pixel shader, originally, looked like this:

The matrix is calculated by taking the world matrix that we are using, (in this case, it is mesh.ParentBone.Transform * world, because we are taking into account the transformation for the mesh itself, as the world transform for the entire object), inverting it using the Matrix.Invert() method, and then transposing it with the Matrix.Transpose() method. The second line just sets the value as we have done with all of our other parameters.

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We loved the sheer brightness of this model, not only being quantitatively brighter than the others we tested, but qualitatively being noticeably brighter than these models as well. We found the quality of light flattering and liked the USB power supply which allows you to skip out on extra cables and adapters.

While we loved the mounting options as well for this ring light, being able to screw onto a tripod and attach a phone mount, we noted that the separate sale of these accessories may not make it fit for novices in the video lighting sphere.

Though not the brightest light we tested, we were wowed by the ratio of brightness to size, improving the lighting of Zoom calls and photo booth pictures substantially considering its meager 3.25-inch length and width chassis. Specifically, we liked how the design of this light eliminated the tell-tale reflection of the ring light that shows up in people's pupils when they use one. The light itself only weighs 0.2 pounds and with the mount it clocks in at 0.35 pounds, making it perfect for traveling. We also loved that the laptop mount is easy to attach and remove, and feels stable when latched onto the screen.

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If you plan on making any content where you'll need to film yourself, EMART's ring light has everything you need to make the process seamless. The light comes with a tripod that expands to 55" tall and features a pivoting head so you can easily light a wide variety of content. Additionally, it comes with a phone holder, remote Bluetooth shutter for iPhone and Android devices, and Bluetooth remote for changing the light settings for a totally hands-free experience. The switch on the light operates simply yet effectively, allowing you to cycle through three color temperatures and 10 brightness levels with the click of a few buttons.

If you are having trouble with the XNA code, you might want to go back and verify that everything is working as it should in the previous tutorial. If you are having trouble with your HLSL code, my complete code for this shader is below:

We have now created a more advanced shader that actually shades the object we are looking at. This will provide us with some good groundwork for doing all sorts of other more advanced shaders. The next thing that we will cover is specular lighting, and then continue on to a slightly more advanced topic: texturing.

Remember that diffuse lighting is the light that reflects off of an object in all directions (it diffuses). It is what gives most objects their color. In this tutorial, we will modify our ambient light shader to include diffuse lighting as well.

The second line, float lightIntensity = dot(normal, DiffuseLightDirection);, essentially calculates the angle between the surface's normal vector and the light, which is used to measure the intensity of the light. The dot() function performs the dot product of two vectors, which can effectively be used as a measurement of the angle between the two vectors. If the surface is exactly facing the light source, this value will be 1. If the surface is sideways, compared to the light, this value will be 0. If the surface is facing away from the light, it will be a negative value. In the third line, we calculate the actual output color that was determined by the diffuse lighting. The color is the default diffuse color, specified by DiffuseColor, multiplied by the default diffuse intensity, specified by DiffuseIntensity, multiplied by the intensity of the light at that vertex, specified by lightIntensity. Notice that we call another intrinsic (built-in) HLSL function, saturate(). This function will take a color and ensure that it has values between 0 and 1 for each of the components.

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