Gear List:
I would say that there are three levels of shooting, and unless I know ABSOLUTELY what I am walking into, I take it all.
That said: Level one.
Quick, on location shoot.
2 booms, C-stands
4 additional stands
Tripod
Two medium and one large Octabox
Umbrella Bag (2-60’s, 2-43’s, and assorted)
Shower curtain scrim
Background stand
Two Profoto 600 WS
4 Speedlights
Gels for color correction
2 grids
2 barndoors
Assorted reflectors
Level Two:
A corporate shoot where I may have to move sets and do a varied assortment of shots (Headshots in the morning, working people at noon, still life product in the afternoon)
All of the above.
Plus;
2 additional booms (small/medium)
4 additional stands
Large softbox
Small softbox
“Kit” box with clamps, wires, blowers, and anything I may need on location to do product
Small folding table
Camp style chairs for waiting
2 Additinal Profotos (total of four)
1200 WS Dynalite with one head
Reflectors and holders
Extra batteries/cables/cords for redundant redundancy
Short ladder
Level Three:
We know exactly what we need for the shoot since we have location, concept, scouting info and such.
All of the above plus any additional items that the shot may call for;
Smoke machines
Extendable ladders
Custom extras
Budgets can range from stupid low to incredibly hign. It all depends on the client. Typically magazines may not have much budget, bud an ad agency may not think anything about spending a couple hundred thousand for what it needs.
Walking this minefield can be very treacherous, so if it is a bigger shoot, with lots of moving parts, it may be wise to get some help with figuring the budget you need and how to conform it to the budget they are willing to pay. I have had art directors carry my strobes for me, and we have used accounting staff as models… all depends on what the final dollars come out to.
But what you do not discount/cut/modify/lower/change is YOUR CREATIVE FEE… once it is established the rest is negotiable.
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