If you had $1000 to spend on a well rounded light kit for various scenarios (i.e. location, interview, set lighting). Would you try to buy a complete kit such as the lowell or try to piece it together from rostronics.
Thanks Walter, this will definately get me started. One of the questions I have is when selecting lights, what wattage to get. Do i need 300 watt lights or 2000 watt lights for a shoot, what is the general rule? Is a 500 watt softbox enough or do i need a 1000w box. I suppose it has something to do with distance and the look you are after, which I'm still trying to figure out.
also remember that the more watts your lighting equipment puts out, the more amps they draw from your location. This is usually fine with several small lights in the inkie to tweenie range, but once you have a couple of 2ks or a few 1ks, you really need to start thinking about your power distribution.
A 2k needs a 20 amp service. While there are a lot of houses that have 20 amp breakers to the outlet, you will often find only 10 or 15 amp breakers paired with 15 amp wiring.
Even if you do have the capacity for a 2k light on your home service, you need to start spreading your power load around the house once you start adding other lights. Shooting off house power with 2k's usually means you speand as much time resetting breaker switches as you do lighting your scenes.
I like a location lighting kit with 2 650s, a 300 watt and a 1k light. I feel that those combinations of wattage are the most manageable in a wide variety of locations where you'll be using house power.
The common route is to blow one's load on all fresnels. Fresnels are great, but much of the time, after you learn a bit about lighting, you will start altering your light anyway to change the quality (hardness/softness/size). Sometimes, though, fresnels are great to have.
I would rather have shoplights and an arsenal of modifiers than no modifiers and a bunch of expensive lights.
If I had to spend a grand on lighting I'd use for everything, I'd probably consider how I might typically want to alter the light. Some of that money will have to go to diffusion and/or bounce, which means C-stands, clamps, flags, and so forth. Buy this stuff used. For the actual lights, I'd go with maybe a fresnel (a 650 maybe) and a couple cheaper open-face lights. Buy these used if you can. I'd pick up a couple shop lights too. Get a dimmer for each light (they are fairly cheap).
What's just as worthwhile (and I apologize if you already know this) is Education. You have to take a general interest in photography as a whole. Light is not just light. Learn how to get soft light, hard light, and when to use it. Learn how to sculp with the position of your lights. Learn to create contrast where you want it (very important, especially with DV). Learn to see in terms of tone (relative light and dark). For a good photographer, professional equipment is simply more convenient.
Buying used is the way to go. A Mole 2K Junior goes for about $650 new, but you can get 'em off ebay for $150 (not that I'm recommending that light, it's probably the least-used light in my arsenal, I'm just using it as a price comparison.)
Definitely buy used, your dollar will go much, much further. Or go Britek/Rostronics, which are very low-priced lights. You could probably get a set of four to six heads, stands, case, a couple of softboxes, doors, C-47's, gels, mafers, spring clips, extension cords, cube taps, black wrap, gaffer tape, etc. all for under $1000.
I don't know what's up with B&M and Pyramid... I check in on Pyramid's auctions every once in a while, and they were auctioning off B&M itself! As in, hey, do you want to buy a lighting manufacturing company? I guess there was a divorce and they needed to sell the company...
I hope they survive... Man, they are selling like 10 Mole 10K's for a thousand bucks... That is incredibly low... If I said that to my cinematography teacher, she'd laugh at me...