Who This Checklist Is For

If you're the person responsible for ordering gear for a video production crew, a photography studio, or a content creation department—and you're not necessarily a lighting tech yourself—this list is for you. I manage purchasing for a 40-person creative agency, roughly $90k annually across 12 vendors. In 2024, when our video team expanded from 3 to 8 shooters, I had to figure out a lighting package that wouldn't break the bank or make the DPs complain.

This checklist walks through the six steps I follow (and wish I’d followed from day one). It's built around Aputure gear, because that's what we standardized on, but the logic works for any professional LED brand.

Step 1: Map the Actual Lighting Scenarios You’ll Shoot

Before you even look at product pages, sit down with the people who will use the lights. Ask:

  • What's the typical shoot distance? – A 3-meter key light for talking heads is different from a 10-meter backlight for a stage.
  • Do you need daylight only, or bi‑color/RGBWW? – If they're mixing with window light, a daylight-only unit like the Aputure LS 600d Daylight LED Light might be enough. But if they shoot in mixed environments, bi‑color saves time gelling.
  • How often do you need a focused beam? – That's where a spotlight mount comes in. The Aputure spotlight mount turns a COB fixture into a hard, controllable spotlight. If they frequently need to cut spill or project patterns, budget for at least one.

One thing I learned the hard way: our DP said they needed “full control.” I ordered three LS 600d Pros with no modifiers. Turns out they needed Fresnel lenses and softboxes for half the gigs. That added $2,400 I hadn't planned for. (This was back in 2023—I still kick myself for not asking more specific questions.)

Step 2: Match Product Lines to Workload

Aputure has three main lines. Here's how I categorize them for purchasing:

  • LS series (e.g., 600d, 1200d) – High output, professional build, IP65 weather resistance on some models. For key lights in studio or on location. Overkill if you only do small tabletop videos.
  • Amaran series (e.g., 200x, 60x) – Compact, affordable, decent output. Great for fill lights, smaller kits, or travel. The amaran COB 200x is a workhorse for our interview setup.
  • MC, MT series – Tiny RGBWW panels and tubes. Useful for accent lighting, practicals, or creative color. Not for primary illumination.

For most B2B teams, the sweet spot is a mix: two LS 600d units for key, four amaran 200x for fill/hair/background, and a couple of MT tubes for set decoration. But your mileage may vary if you're a rental house with different demand patterns.

Step 3: Check the Specs That Actually Matter

Don't get lost in lumen numbers. Focus on these three:

  1. Color rendering (CRI/TLCI) – Aim for ≥95. Aputure usually specs 96+. This matters when you're lighting skin tones or product colors. I learned this after a shoot where a cheap LED made a blue dress look purple—client rejected the footage.
  2. Power draw and voltage – The LS 600d pulls about 720W at max. If your venue has limited circuits, you might need to dial down or bring a generator. (Our in‑house studio has one 15A circuit per wall—learned that the hard way when we tripped the breaker during a live stream.)
  3. Control options – DMX, Sidus Link app, manual dial. If your DP wants to dim lights from a tablet, check compatibility. The LS 600d supports Sidus Link—or rather, the newer Pro version does; the older one needed an extra box.

A quick note on the spotlight mount: the Aputure spotlight mount (officially the Spotlight Mount with an optical lens) works with LS and amaran COB heads. But it's not universal—check the clamp size. The 600d uses a 7-inch reflector mount; the mount adapter is included. Some third‑party options exist, but we stick with Aputure's own for safety (had a bracket failure once with a non‑branded one—not worth the risk).

Step 4: Budget for Accessories (the Hidden Half)

My biggest mistake in 2022: I spent $8,000 on light heads and only $1,000 on stands, modifiers, and cases. Within six months we needed two more C‑stands, four softboxes, and a rolling case because the foam inserts didn't fit. Now I allocate roughly 40% of the total lighting budget to accessories. This includes:

  • Stands (buy heavy‑duty for 600d—cheap stands wobble)
  • Softboxes, umbrellas, scrims
  • Grids and barn doors (especially if you're using the spotlight mount)
  • Cases or bags (Pelican or Tenba for travel)
  • Extension cords, gaffer tape, sandbags

If you're ordering from the UK, note that “spotlight uk” searches often turn up theatrical PAR cans—not the same as a COB spotlight. Make sure your team specifies Aputure when requesting. (Between you and me, I once accidentally ordered stage lights because the catalog named both “spotlight.” Live and learn.)

Step 5: Decide on Bulk vs. Individual Orders

For a team of 8 shooters, we needed consistent kits. Ordering all at once gave us a discount from our distributor (around 8% off MSRP for a $25k order). But it also meant a huge capital outlay. My finance director pushed back. I compromised: bought two LS 600ds and four amaran 200x upfront, then added the remaining four amaran units six months later.

The numbers said buy all now (save $2,100). My gut said stagger because we might need to adjust specs after testing. Turned out my gut was right—after three months, we realized we needed two more tubes and one less softbox. If I'd bought everything at once, I'd have been stuck with extra inventory.

Step 6: Verify Shipping, Invoicing, and Warranty

This is where the admin buyer role shines. Before confirming any order:

  • Get a pro‑forma invoice with clear payment terms (net 30 preferred).
  • Confirm shipping cost, ETA, and whether duties are included (especially if importing to UK or EU).
  • Check the warranty length—Aputure typically offers 2 years, but some resellers add extra.
  • Ask about return policy for DOA units. I had a 600d arrive with a faulty fan—replacement took 3 weeks because the distributor's process was manual. Now I ask for an advance replacement program.

One more thing: is track lighting out of style? In the pro film world, yes—track lighting (like in retail or home) rarely gets used because it's limited in beam control and color quality. COB LEDs with spotlight mounts have replaced track heads in most studio setups. If your crew mentions “track lighting,” they probably mean linear fixtures like the MT tube, which can be mounted on a track system for flexible positioning. Clarify before ordering.

Common Mistakes I’ve Made (So You Don’t Have To)

  • Underestimating weight – The LS 600d with a Fresnel and arm is ~12 kg. Cheap stands will tip. Spend on stands.
  • Ignoring color consistency across units – Two 600d units from different production batches might have a slight color shift. Aputure claims ±50K tolerance, but I noticed one was 50K warmer. If you're doing multi‑light setups, buy from the same batch or calibrate with a color meter.
  • Forgetting international voltage – If you're shipping to the UK, make sure the unit can handle 240V. Most Aputures are voltage‑switching (100–240V), but double‑check the spec sheet.
  • Over‑buying “just in case” – I had eight unused dimmer cables for two years because the DPs preferred app control. Ask first.

Every purchasing decision has trade‑offs. This checklist won't make you a lighting expert, but it'll help you ask the right questions—and avoid the regret of an expensive mismatch. Good luck.