Anything wrong with using halogen work lights...

The only "wrong" thing is that non-pro gear takes way longer to work with thus you end up with way smaller amount of footage so a hobbyist (who could rent gear) you end up with less footage and as semi-pro you end up with less money as the time=money on the set.
 
Patryk_Rebisz said:
The only "wrong" thing is that non-pro gear takes way longer to work with thus you end up with way smaller amount of footage so a hobbyist (who could rent gear) you end up with less footage and as semi-pro you end up with less money as the time=money on the set.
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True, and forget getting paid. Clients see Home Depot stuff and won't think you're too professional and won't pay you much no matter how good you actually are.
 
slondon said:
I've got some nooks too and they are useful as you describe. But the globes supplied for worklights are much lower in color temperature in order to extend their life, ~2700K. You have to go out of your way to get 3200K ones. They burn much hotter and don't last nearly as long.
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To clarify, they're the same size/socket bulbs; you can do a bit of research and find the 3-letter code for the various wattages, and grab bulbs from something like bulbs.com or eBay. The long, skinny bulbs with the dual ceramic ends in most worklights can be had at 3200k and are among the cheapest bulbs, especially in the 100-500 watt range - from 750 to 1k they get a tad pricier but are still a great deal for the lumens. Some of the frosted bulbs in the 650 range have very short lifespans in their spec sheets, but I've had one for something like 12 years that is still kicking.

I'd toss out some more info, but I haven't done much tungsten balanced shooting lately - digital seems to work better with daylight sources (IMHO) and I've been doing a lot of flo/HID/HMI shooting (though I tend to bounce or gel it a bit warm).
 
slondon said:
True, and forget getting paid. Clients see Home Depot stuff and won't think you're too professional and won't pay you much no matter how good you actually are.
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That's for sure, but I'd be glad to show them a demo reel with stuff I lit with these particular light and show them a behind the scene footage then, just to show them that the tool doesn't matter, as long as the result looks great. I've done 4 shorts for a contest and used these work light in almost all of them and the results were great. I've done one short using a 35mm adapter, indoor and lit the scene with one. It did the job.
Now, for a gig...
 
drapeama said:
That's for sure, but I'd be glad to show them a demo reel with stuff I lit with these particular light and show them a behind the scene footage then, just to show them that the tool doesn't matter, as long as the result looks great. I've done 4 shorts for a contest and used these work light in almost all of them and the results were great. I've done one short using a 35mm adapter, indoor and lit the scene with one. It did the job.
Now, for a gig...
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There's really no need to 'explain to customers' at the point of the shoot. They've contracted you to get the job done, and if you don't deliver, then they can sue for non-performance, and demand their deposit back... as a note... get a deposit before you show up... it shows the client's commitment, and that is the professional thing to do...

If really pressed, by someone who is so 'name brand oriented'... say these are your throw aways you use on location... if they are damaged you're not out thousands, or have to pay a hefty deductible for the insurance replacement...
 
Actually they are not much different from Redheads or Blondes (light wise) But yeah, missing barn doors may be a little problem, but nothing that cant be fixed with some black wrap.

Frank
 
drapeama said:
That's for sure, but I'd be glad to show them a demo reel with stuff I lit with these particular light and show them a behind the scene footage then, just to show them that the tool doesn't matter, as long as the result looks great. I've done 4 shorts for a contest and used these work light in almost all of them and the results were great. I've done one short using a 35mm adapter, indoor and lit the scene with one. It did the job.
Now, for a gig...
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I believe you. You can do great lighting with about anything. I really resist the "looking the part" stuff because it is disconnected from results, as you well know, but I reluctantly have to admit that there's a little something to it with most clients. When I roll up and drop the ramp on my trailer packed full of stuff they get all impressed and say so even when I just hang a $10 China ball.

If you're in a city start looking on Craigslist and other classifieds. Things pop up.
 
slondon said:
I believe you. You can do great lighting with about anything. [...] If you're in a city start looking on Craigslist and other classifieds. Things pop up.
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1) True, the tool doesn't make the artist.
2) I don't think there's a craiglist near my hometown, but who knows, Montréal is only 1 hour from here.
 
drapeama said:
1) True, the tool doesn't make the artist.
2) I don't think there's a craiglist near my hometown, but who knows, Montréal is only 1 hour from here.
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Craigslist is a crap shoot, and really requires that you know what you are looking for in the first place... so as to be able to identify junk when you see it... Even though I live in So. California, to get a deal, I'll drive 'an hour or more'... Haven't needed to do that for photo equipment of late, but if the need arises, I would do it...

It is best to get stuff that a working photographer is using, and unless it looks really battle weary, it probably is 'working'... and has a useful life for the price... if the items are being sold by someone who bid on a storage rental, and has no idea what is what... who knows what the condition is... for electrical items, turn it on and 'sniff'... and if you can tell burning bakelite, or power cord... bring someone who can...
 
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