From interview lighting to product lighting
 

So, I am in the market for a lighting kit that could go from interview lighting to product lighting. Currently, I want to do some product lighting, but I don't want go too cheap and not get something that could do a simple interview later on. Anyone have some general advice on brand, type. I'm pretty sure I'll go three point. Thanks in advance.

Bad idea.

Meaning what? Interviewing a person, 10 people, older people, teenagers, the Mayor? What kinds of products? Wine bottles? Cars, linen?

What is "too cheap", and please help us understand what you mean by "simple interview".


Lots. Myself and others have written volumes on this site on the subject. Check it out.

Then you're already in trouble.

Well, I wanted to do product lighting, from a few inches to maybe 30 inches tall. I could go cheap, but when I purchase anything, I am always looking for flexibility. Obviously a cube kit doesn't allow for anything other than small photography. I know this is a start to my light kit, so I wanted to start small. My question was more of good brands vs bad brands and umbrellas or just get lights and use screens. Sorry for the vague question, but I was just trying to get some direction for my research. Thanks.

Alright,

My point was that this question tends to get asked over, and over, and over again. I guess some of that information should really be a sticky.

But brands of lights that are good, tend to follow what kind of lighting you are looking for. In traditional film lighting Arri and Mole Richardson tend to be the industry standards. For inexpensive and mostly tungsten lighting, Lowel is quite popular. There are others such as Altman, Dedo, Litepanels, Cool Lights, Lee Colortran, and others that have excellent products.

There are many others, but until you can be more specific, that list should get you on the path.

Good luck.

I thought something like this might be pretty versatile.

http://www.bhphotovideo.com/c/product/285767-REG/Lowel_VP_97ULBZ_GO_Jet_Set_Kit.html
Since i don't have gigs right now where I need the light kit, I would stay around this price range.

Is your intent to buy lighting you'll replace one your start building a kit, or do you want to buy lights you might actually keep?

Steven:

Ignore Perrone's crusty demeanor. He means well, but trapped inside is a sad guy who longs for the days when FSU had a decent football team. ;}

Really, for a starter, it's hard to go wrong with an ARRI combo kit, especially if you add a couple of Chimera-style soft boxes for the two larger lights. (something like the 1K open face, 650, 300 and pair of 150s) You can do a lot with just that kit...even more with a Flexfill reflector and some gels/diffusion.

I am starting from scratch, I don't have a light kit at all.

LOL!!!! HEY! They're decent... just not National contenders like they used to be. But then neither is any team in this state. For the record, I am not even a football fan, but my money went to FSU so I usually cheer for them. Unless they are playing the Tar Heels.

His indicated budget is pretty tight to be looking at Arri kits. And unfortunately, the Lowel kit he posted has some V-Lights and a Pro Light. I wouldn't carry a v-light on a job, but that's just me maybe. The Lowel stands are nearly flimsy enough to be hazardous. I've got a few of the normal light duty ones, and some intended for their slightly larger light. The bigger ones are ok, but you'll never confuse them for Matthews..

I just hate seeing new buyers put themselves in a hole and spend money on stuff that won't stay with them. In the Lowel light at LEAST go for the Tota/DP light combos. And a Pro light in there is ok too. The bargain is the Omni lights. They are tough and flexible. And don't weigh a lot either.

Tar Heels? My daughter goes to Duke. 'Nuff said.

Yeah, after I praised the ARRI kit, I remembered that might be a bit out of his budget. On the other hand, the ARRIs will be up and running and looking brand new long after any of the Lowel stuff has begun to fall apart. I agree: the Tota/Omni/Pro package would be an improvement.

I haven't used an Omni for years but I don't believe the design was every properly updated where the bulb was side-mounted rather than rear mounted as in the DP's and every other lighting unit. This meant that the fixture could often be used where the socket was directly above the lamp (if you hung it for instance) which would cause the bulb to blow prematurely. Just not a well-designed unit.

I would really only use open face fixtures for a bounce (at which they excel) or to light a large area in the background of a shot (trees etc). They are good at spread but not great quality for keying, at least bare. OK, I'll qualify that for saying that they can be used direct into diffusion and they are fine. But if I was to buy a kit today I'd want more fresnels and maybe one open face for punch, like a (1) 300, (2) 650 and (1) open face kit. Today's cameras are more sensitive so perhaps (2) 300's and (1) 650 is better for many people.

There's a lot to be said for LED and fluorescent fixtures now that the "new economy" of production has inspired so many companies to make inexpensive units. They run cool and power efficient and have less compromise for daylight balance than gelling down hot tungsten lights. But I think any package should have a combination of soft sources and hard sources for maximum flexibility.

I don't keep up with the budget stuff but my absolute basic shooting package that I have for any job will include a tungsten package as listed above, a Dedo kit, a couple of Source 4's (absolutely genius for working fast since they don't require flags to shape the light) and Kinos or Litepanels along with my workhorse Zylight IS3.

Yep, And if he said he had $4k- $5k for lighting, I might have tried to steer him this way. That's what is so hard about lighting and helping people. The budgets new shooters allow generally would buy them one GOOD light. And they want three, but NEED 6.

It's always a tough discussion.

Quite a bit more than 4-5K for that--and actually I only own about half that gear, the rest is rented on a per job basis. At least here in LA, lighting gear can be rented so cheaply that it's not worth the investment, it takes so long to pay off. Of course those living off the beaten path may not have access to rental gear and/or may be able to charge more for it, so purchasing makes sense. Either way it is a long-term investment, like a set of sticks and a head, so it's good to get gear that will last (unlike cameras). I still have a Tota that I bought in the 80's! It occasionally makes an appearance housed in a softbox fixture, although it bothers me that I can't easily scrim it down--more often I use it as a worklight to wrap in the dark etc.

Charles, the Source 4's you generally use on video shoots, are they the ones with the 70 degree spread? I have a few Dedolights (and a projector) that I huck around with others on each shoot. There great of course. But the Stage 4's look like they have a LOT more throw and the shutter blades are built in and probably not as finicky as the Dedo shutter blades. I believe it is these units you are talking about...

http://www.bhphotovideo.com/c/product/544731-REG/ETC_7060A1090_0XA_7060A1090_0XA_Source_4_HID.html
-Andrew

Re: From interview lighting to product lighting
 

I am a huge Duke fan! Coach K is the best college bball coach ever!

And I am still looking for my combo kit, I plan to replace all my video cameras next year, so 3k is a little steep for me, maybe I can find one gently used. Either way, thanks for the direction and being up front with me. Duke rules!