Assembling a lighting and grip package, thoughts?

[Grug]

Hi Guys,

This is a bit of a long one I warn you, but I'd really appreciate any advice or suggestions people might have.

I've reached a point in my career where I want to focus more purely on lighting and camera, and move away from the various ancillary creative freelancing jobs that have (till now) supplemented my film work. I'm pretty good at what I do now (and perhaps more importantly - I'm good enough) so I want to put together a small lighting and grip package that will allow me to gaffer on projects when I'm not shooting others (and basically just spend more time on sets).

Now I am limited by the amount of space I have in the back of my ute (that's a "pickup truck" to my international friends!), but the following package is something I can get away with once I install some custom shelving.

In terms of the lighting package my primary goals are speed, precision and control. Any time I can save setting up additional flags/cutters, means more time spent on takes (where it belongs), it's also more efficient - and I like that. Which is why I'm thinking I'd prefer these particular fixtures.

The Dedo units offer more control than anything shy of a Leko, so it's easier to get the effects you want with them (having larger 650w units, and a daylight balanced 1.2k HMI version simply extends the scale of what I can do with them - relative to the standard 150w Dedos).

I just picked up my first Area 48 Remote Phosphor softlight yesterday after comparing it directly to a Kino Flo Diva 400 (the standard softlight that I'm most confident and familiar with using) and it beats both the light output and colour accuracy of the fluoro unit by a considerable margin (by eye, I'd guess it's got about 1/2-stop more output), and the Area 48 offers the added benefits of being battery operable, lightning fast to switch from daylight to tungsten, and has no colour shift as you dim the unit (so your not having to add +green gels like you often do when you dim a Diva with tungsten tubes - so there's time saved there as well).

Now obviously this kit is a fair bit different from the standard small lighting package you get these days - which seem to generally consist of a couple of HMIs, Blondies, Redheads, Tungsten Fresnels, Kino Softlights & a couple of 150w Dedolights. So what I'm most interested to hear, is whether people would actually want to bring in a gaffer with a package like this?

I feel pretty confident that I could light everything that I'm used to lighting with a conventional small package, faster and more precisely with this package - but that's irrelevant obviously, if no one wants to hire me with a package they're not familiar with.

So what do think guys, is this a solid package? Would you want to work with it? And if not, what would you want to be different and why?

This is going to be a substantial investment for me obviously, so any thoughts or suggestions would be much appreciated!

Cheers,

Mark


(items in bold are the things I don't own yet)

Lights:
1x 1.2k HMI PAR
1x 1.2k HMI Dedolight
2x 150w HMI Fresnels (capable of 5600k and 3200k, 650w tungsten equivalents)
2x 650w Halogen Dedolights + dimmers
2x 150w Halogen Dedolights
2x Area 48 Remote Phosphor Softlights (capable of 5600k and 3200k - they're Kino Diva 400 alternatives)
3x Z96 Small LED Panels

Grip:
5x 40" C-stands + Grip Heads + Grip Arms
6x standard light stands of various sizes
2x 4'x4' Floppies + assorted blacks
2x Gel/Diffusion Kits
4x Umbrellas (white, gold, silver)
1x 2'x3' Digital Juice Flag Kit (nets, silks, black block etc)
1x 6'x6' Overhead Butterfly (with silk, and ultrabounce)
3x 4'x4' Diffusion Frames (216, 250, 251)
3x Scissor Clamps (for ceiling frames)
2x 2'x3' 4-in-1 Reflector Frames
3x Cardellini Clamps
6x Super Clamps
2x Magic Arms
10x Shotbags

Power:
1x 3.5kw Portable Generator

 

[Patryk_Rebisz]

You are a bit thin on thungsten lights. 6-8 thungtsen lights should be minimum - they are cheap, no need for Dedos unless as specialty lights.

This is my personal kit that was designed for similar purpose as yours:
LIGHTS (thungsten):
1x 2k w Arri (openface)
2x 1k w Arri (fresnel + openface)
2x 650w Arri
3x 300w Arri
2x 150w Arri
2x 1k w Lowel (openface)
2x 500w Lowel (openface)
2x 250w Lowel
1x 250w Lowel Rifa + eggcrate
2x 750w Source 4 + patterns + case

LIGHTS (HMIs / daylight):
2x 1.2w LTM PAR / FRESNEL HMI (mag ballast) + case
2x 575w LTM PAR HMI (electronic ballast) + case
2x 200w LTM FRESNEL HMI (mag ballast) + case
1x Mini LitePanel + 2 batteries + case
3x 1x1 LitePanel 5600K

LIGHT SHAPERS:
1x 12x12' butterfly + 3x material (light grid, ultra bounce / black, frost)
1x 6x6' butterfly + 4x material (2x light grid, ultra bounce / black, frost)
1x 24x36 soft box + eggcrate
1x 16x36 soft box + eggcrate
1x 35" pancake + skirt
2x snoot
1x 18x24 flag, net kit
1x 24x36 flag, net kit
2x 4x4 floppy
2x 4x4 empty frame

GRIP:
8x C-stand + arm (6x 40", 2x 20")
1x C-stand cart
4x heavy duty light stand
2x heavy duty combi stand
8x light stand
1x boom
4x grip head
4x pigeon
2x mafer clamp
4x cartolini
2x C clamp with studs
12x sandbag
4x applebox family
1x foldable utility cart
1x smoke machine

ELECTRIC:
20x 25' stinger
4x 50' stinger
various cue-taps, cheaters, dimmers, etc
5-channel interrupter (for lighting gags)

 

[Andrew Luczenczyn]

FYI MSE Roadrags have 4x4 frame set that folds in half to 4x2, if transportation space is an issue.

I also agree, some simple tungsten lights are probably a good choice as well. Your missing out on fixtures that can have a wide and hard beam. The dedos may be too narrow in some instances. But thats also dependent on your personal style

 

[David G. Smith]

...I feel pretty confident that I could light everything that I'm used to lighting with a conventional small package, faster and more precisely with this package...

That is kind of the crux of the question. If you are going to hire yourself out as a gaffer with gear you may need to think about building a lighting kit that would be used for more than, "What I am used to lighting". If you are going to do something like this I highly recommend putting together a business plan and doing some serious market research to define exactly what what kind of market there is out there, in you area, for a gaffer with gear and put together a LGE kit based on the needs of that market. Before you spend any money you may want to think about reaching out to producers and filmmakers in you area and ask them what they would be wanting, gear wise, from a gaffer with gear for hire. I do have to say that running a lively hood producing business as a gaffer with gear for hire out of the back of a pick up truck may be, to use a Southern USA colloquialism, "A tough row to hoe", or, in other words, pretty hard. Talk to the folks in your area that you may want to provide your services to and get their input. This will not only help you in acquiring the gear that you need but could also be start of your building a good network of contacts to make a go of you business.


I agree with Patryk and think you are a little light in regards to tungsten lights. Your most powerful Fresnel lights are 150 watt HMIs? I understand that you are a fan of the Dedolight, but, really, a fully kitted out Fresnel, with 4 way barn doors, snoot, a soft box and scrim set is, IMO, the most versatile light available. If I was kitting up for what you are suggesting a couple of kitted out tungsten 2Ks and three or four kitted out tungsten 1ks would be first on my list. Some open faced tungstens, 1K or 650 watt, would be handy also. The good thing is that a lot of good used tungsten lights are available used for relatively inexpensive prices. After that, listen to the potential clients from your market research on how to build your kit.

On the grip side... get more C-stands, grip Heads, grip Arms and shot/sandbags. Don't forget the more mundane gear, like a fully equipped hand tool kit, a power drill, ladders, rope, tape, and tape... did I mention tape, and so on and so forth. You said that you have a, "2x Gel/Diffusion Kits". You may want to think about getting bulk rolls of gels (Bill them as expendables as used).

There are just some suggestions. Good luck. Keep us posted as to how this works out for you and any tricks or tips that you learn along the way.

 

[Grug]

Thanks guys, really appreciate the thoughts.

I feel I should clarify a couple of things quickly, my primary focus remains in cinematography, so putting together a small lighting package to run as a gaffer is more about supplementing my DP work with other on-set work, than establishing myself as a full-time gaffer. What I want to do is replace the photography and post-production work that currently supplements my income from shooting, with lighting work that's more closely related to cinematography. Which I suppose is a round-about way of saying that this would only ever be a 'small' lighting package, intended for small productions: small TVCs, short films, corporates etc. for shoots that need a medium-sized or large lighting package I'd simply bring those in. Owning and maintaining a larger equipment inventory (and a van or truck to transport it) isn't really something I want to do (for reference, Patryk, down here your kit would generally be considered a medium-sized package).

Getting back to the actual fixtures I suppose it seems like I have an aversion to tungsten fresnels, and I suppose that's because in the last two years of shooting, I don't think I've ever once used a fresnel directly on talent (except as a back light - and most times that I have used a fresnel as a backlight, I've wished I had the beam and control of a Dedo that could do a better job of it). So when I do use fresnels, they're always bounced off an umbrella or reflector (I prefer bounced light to firing directly through diffusion, so I'm not a big fan of softboxes generally), and most of the time, I'd rather have the higher output of an open-face unit to do the same thing.

So to my mind, the kit concept I've come up with basically gives me this:

Tungsten Lighting:
- 2x Tungsten Softlights (the Area 48s - which I basically see as Kino Diva 400 equivalents, with stronger output)
- 2x 650w Fresnels (the 150w HMIs bulbed for 3200k)
- 2x 650w Dedos (these can be very quickly and easily bulbed down to 300w when needed)
- 2x 150w Dedos (everyone's favourite kicker, I'll probably get another two of these down the road)

Daylight Lighting
- 2x Daylight Softlights (the Area 48s)
- 1x 1.2k HMI PAR
- 1x 1.2k/800w HMI Dedo (this is obviously quite unlike any fixture commonly used, except perhaps a Jo-Leko conversion, but I can see a lot of uses for it)
- 2x 150w HMI Fresnels

The more I think about it, the more I think you guys are right about me needing some fixtures with wider beam spread, so perhaps if I added something like 2x Arrilite 2000 plus and 2x Arrilite 750 Plus open-faced units (i.e. 2x Blondes, and 2x redheads)? I'll probably be pushed for space adding those, but they do open up some additional options.

 

[Moseph]

Whatever you're calling 150w HMI's aren't actually so. HMI's are strictly daylight balanced, you're thinking of some other sort of arc discharge lamp.

I would really consider getting a couple 2k blondes and PAR cans, and a source four (you want to talk about a controlled source, you don't even have to think about setting flags with one of those) before you spend loads of money on a 1.2k PAR. For a new one you'll be looking at well over $5000, for something that during daytime won't even give you that much output.

 

[David G. Smith]

Thanks guys, really appreciate the thoughts.

I feel I should clarify a couple of things quickly, my primary focus remains in cinematography, so putting together a small lighting package to run as a gaffer is more about supplementing my DP work with other on-set work, than establishing myself as a full-time gaffer. What I want to do is replace the photography and post-production work that currently supplements my income from shooting, with lighting work that's more closely related to cinematography. Which I suppose is a round-about way of saying that this would only ever be a 'small' lighting package, intended for small productions: small TVCs, short films, corporates etc. for shoots that need a medium-sized or large lighting package I'd simply bring those in. Owning and maintaining a larger equipment inventory (and a van or truck to transport it) isn't really something I want to do (for reference, Patryk, down here your kit would generally be considered a medium-sized package).

Getting back to the actual fixtures I suppose it seems like I have an aversion to tungsten fresnels, and I suppose that's because in the last two years of shooting, I don't think I've ever once used a fresnel directly on talent (except as a back light - and most times that I have used a fresnel as a backlight, I've wished I had the beam and control of a Dedo that could do a better job of it). So when I do use fresnels, they're always bounced off an umbrella or reflector (I prefer bounced light to firing directly through diffusion, so I'm not a big fan of softboxes generally), and most of the time, I'd rather have the higher output of an open-face unit to do the same thing.

So to my mind, the kit concept I've come up with basically gives me this:

Tungsten Lighting:
- 2x Tungsten Softlights (the Area 48s - which I basically see as Kino Diva 400 equivalents, with stronger output)
- 2x 650w Fresnels (the 150w HMIs bulbed for 3200k)
- 2x 650w Dedos (these can be very quickly and easily bulbed down to 300w when needed)
- 2x 150w Dedos (everyone's favourite kicker, I'll probably get another two of these down the road)

Daylight Lighting
- 2x Daylight Softlights (the Area 48s)
- 1x 1.2k HMI PAR
- 1x 1.2k/800w HMI Dedo (this is obviously quite unlike any fixture commonly used, except perhaps a Jo-Leko conversion, but I can see a lot of uses for it)
- 2x 150w HMI Fresnels

The more I think about it, the more I think you guys are right about me needing some fixtures with wider beam spread, so perhaps if I added something like 2x Arrilite 2000 plus and 2x Arrilite 750 Plus open-faced units (i.e. 2x Blondes, and 2x redheads)? I'll probably be pushed for space adding those, but they do open up some additional options.

That clarifies things. I had assumed that you were setting yourself up to be primarily a gaffer. I think you are on the right track to putting together a kit for the purpose that you explained.

Whatever you're calling 150w HMI's aren't actually so. HMI's are strictly daylight balanced, you're thinking of some other sort of arc discharge lamp.

I would really consider getting a couple 2k blondes and PAR cans, and a source four (you want to talk about a controlled source, you don't even have to think about setting flags with one of those) before you spend loads of money on a 1.2k PAR. For a new one you'll be looking at well over $5000, for something that during daytime won't even give you that much output.

I am a fan of PAR can lights, or even better Source Fours, which are significantly more expensive. I went with a set of inexpensive PAR cans that I got from a DJ lighting house and put a TVMP adapter on the yoke to make them stand mountable. As for pure lighting output bang for your buck, 1K PAR cans are hard to beat.

 

[Grug]

Whatever you're calling 150w HMI's aren't actually so. HMI's are strictly daylight balanced, you're thinking of some other sort of arc discharge lamp.

I would really consider getting a couple 2k blondes and PAR cans, and a source four (you want to talk about a controlled source, you don't even have to think about setting flags with one of those) before you spend loads of money on a 1.2k PAR. For a new one you'll be looking at well over $5000, for something that during daytime won't even give you that much output.

Correct, the 150w fresnels are technically Ceramic Discharge Metalhalide (CDM) lamps. But since no one knows what CDM is, and given that it sits in the same family as HMI. I think it's simpler and easier to just refer to it as such.

I've already got the 1.2k PAR (which is easily my favourite and most versatile light), it's the 1.2k Dedo that would be the new addition (if I get it) and that's a particularly unique fixture.

That clarifies things. I had assumed that you were setting yourself up to be primarily a gaffer. I think you are on the right track to putting together a kit for the purpose that you explained.

I am a fan of PAR can lights, or even better Source Fours, which are significantly more expensive. I went with a set of inexpensive PAR cans that I got from a DJ lighting house and put a TVMP adapter on the yoke to make them stand mountable. As for pure lighting output bang for your buck, 1K PAR cans are hard to beat.

Cheers David. A couple of adapted PAR cans would certainly make sense given how ridiculous cheap they are.

 

[NAHA41]

I did the same thing you are contemplating last year. This is my package. I also own an Alexa ,F3, and prime and zoom cinema lenses.
When needed, I haul it around in a Trailer(which I never ,ever,ever, thought I would do) . The trailer has worked out great though.
I simply had the itch have have my own lighting package. It has made me money, given me creative freedom, and will still be worth money when I sell.

Trailer Package (5x10) includes the following…


LIGHTING

Arri Softbank portable light kit: 1 -1000 watt lamp, 2 - 650 watt lamps and
1 -350 watt lamp with chimera

2K open face tungsten

LTM 1200 cinepar, magnetic ballast

Joker Bug 800 HMI

Kinoflo Lighting: 2 foot 4 bank (Image 20) & 4 foot 8 bank (Image 80)

Coolights 2ft 2 bank & 4ft 4 bank (as kino flo Diva)

Kino flo 55w wand light

Arri 125 HMI Pocket Par

2 DEDO lights

GRIP/ELECTRIC

6x6 frame with rags, (checkerboard , china silk, greenscreen , single, double)

24 x 36 flags (complete set)

3 4x4 floppies

4 4x4 frames

Apple boxes (full set)

5 c-Stands

3 Combo stands (double riser roller)

Matthews Dots-(complete set)

4x4 foam core

6 x 25ft stingers

Various clamps, mafers , studs, ect.

Gels (CTO, CTB, Circus , Plus/Minus Green)

8 15lb sandbags

Rolling Cart & Hamper

Roll white seamless

6 Ft Ladder

 

[Grug]

Cheers NAHA, sounds like a good basic package you've got there. I suppose getting a trailer to transport things is always an option if things expand beyond the ute's carrying capacity. Did you assemble your kit around the specific fixtures YOU wanted to have? Or was it tailored more around the standard small lighting package you were used to seeing?

 

[Michael Carter]

I'd get some combos or beefy babies vs. all the c-stands... lots more stand for the bucks.

How are you going to fly those frames?

 

[Andrew Luczenczyn]

I dream of the day I can have a trailer.

 

[Grug]

I'd get some combos or beefy babies vs. all the c-stands... lots more stand for the bucks.

How are you going to fly those frames?

Frames I'll fly from the c-stands. I'd love to add two combos and a wind-up to the kit, but combos cost $450-500 a pop, and I need other gear more for starters, so it'll have to be a down-the-line addition at this stage.

I dream of the day I can have a trailer.

They're very handy for transporting things, but parking with them on location is always a nightmare - if my kit expanded too much, my solutions would run in this order:

1) Try adding roof rack based storage first
2) Get other crew members to take things in their cars
3) Give up and buy a van
4) Get a trailer

Trailer are helpful, no doubt, but they don't make life easier all the time (plus I live on a main road, so getting trailers in an out of the driveway is a real headache).

 

[NAHA41]

Grug, I put together my lighting package based on my style of lighting. Some may think a dedo is a specialized light, but I would be lost without them.

I don't really go out as a gaffer, so anther dp's needs are not high on my list. That being said, I think what I have put together works well for small jobs.

The trailer can sometimes be a pain to park, but it really was the best solution for me. The gear I have just fits in my trailer, could not imagine getting it in my Land Cruiser.

Also, the trailer looks more legit on a job, and is much easier to work out of than a Van .

 

[Grug]

Grug, I put together my lighting package based on my style of lighting. Some may think a dedo is a specialized light, but I would be lost without them.

I don't really go out as a gaffer, so anther dp's needs are not high on my list. That being said, I think what I have put together works well for small jobs.

The trailer can sometimes be a pain to park, but it really was the best solution for me. The gear I have just fits in my trailer, could not imagine getting it in my Land Cruiser.

Also, the trailer looks more legit on a job, and is much easier to work out of than a Van .

Cheers, at the end of the day I suppose the lighting package is primarily for me, so I think I should keep that at the forefront of my mind. A kit that works with you is always going to be more useful than a kit that requires some extra work to do what you want.

 

[David W. Jones]

Well I went from a Range Rover with racks on top, to a 5-Ton grip truck, and have now scaled down to a Mercedes Sprinter van, which is almost the perfect size for what I'm doing now. I no longer hire out, and have reconfigured my gear package to support the majority of the jobs I do now, which are mainly commercial projects. I'll post some new pics when I can get a chance, as I have reorganized the van since the last pic post, with rope ratchets replacing the majority of the bungee cords.

 

[Michael Carter]

Frames I'll fly from the c-stands. I'd love to add two combos and a wind-up to the kit, but combos cost $450-500 a pop, and I need other gear more for starters, so it'll have to be a down-the-line addition at this stage.

Man... a steel beefy's about the same $$ as a turtle-base Avenger C. I wouldn't put anything bigger than a 4x4 on c-stands, especially outdoors. Once you get a couple beefies, you'll start thinking "why did I buy so many c-stands"?

Adorama sells the Kupo combo for around $150 with shipping, too... decent stand!